The Mad Art Edition

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Surreal art - Nancy Fouts Printmaking genius - Caroline Macey New World Disorder - D*Face Sketches of after dark London - Raúl Guerrero’s Avoiding the portrait trap - Katrine Roberts Pinocchio’s Inferno - Andrew Celso and more.

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In our ruthless pursuit of scoop, art and design is front and centre with 48 pages of jam-packed talents worth a million bucks.


The Kindle cometh but the print ain’t dead yet. We really should be charging you a princely sum for this, but rather than force you to commit financial hari-kari, we’d rather spread the word that this city is deeply embedded in the arts, and this is what we’re all about.


Survive this ‘art-mageddon’ and you will go around in a kick-ass mood. Tarzan has roared, but will he be heard? Continue to find out more…


Your muckraking editor Maximus Jo Kerr McGuire. @LaissezFaire888


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ART FACE TO D*FACE Skater boy turned street artist D*Face (real name Dean Stockton) may be best known in some circles for his collaboration with Christina Aguilera on the cover for her 2010 album Bionic, but as his recent exhibition The New World Disorder at The Stolen Space Gallery in London showed, he is not one to shy away from controversy. Reflecting on times of chaos, disorder and loss, elements of the show were inspired by The Tillman Story, the 2010 documentary film about the 2004 death of US Army Ranger Pat Tillman in the war in Afghanistan, the cover-up of the true circumstances of his death, and his family’s struggle to unearth the truth.

Words by Britt PflĂźger

D*Face has certainly not been resting on his laurels since his rise to fame in 2005. Not only was he one of 50 artists commissioned to create a 50th anniversary Penguin book cover and is the only urban artist to date to be featured on the front cover of ArtReview, but he has taken his art to the streets of Los Angeles, New York, Ecuador and Hong Kong, to name but a few. We decided to dig a little deeper.

Grim Rider

Monolith Where did you grow up, and how did it influence your work?

I was born and raised in London by hard working parents who claimed they found me in a pack of cereal sometime in the late 70s. My mother worked in a bank, my father worked as a panel beater and bodywork sprayer, so I grew up to the smell of paint. I disliked school, I had a very clever sister who from an early age showed she was the academic one and it was quickly apparent I was never going to be the ‘doctor or lawyer’ in the family, besides I’d already decided to carve my own path in life. I have always been fascinated with cartoons and American culture, which at the time - early 80s - seemed a million miles away to a kid growing up in London, England. My mum, always keen to broaden my education and still coming to terms with the fact academic studies weren’t my calling, used to regularly take my sister and I to London art galleries. Early on I was introduced to the Pop Art of Roy Lichtenstein, Keith Haring and Andy Warhol and it had immediate appeal, it directly translated into my life; the comic book appropriated imagery, public murals and instant in your face imagery that hung on the white gallery walls seemed so much more approachable than the heavily worked oil portraits or landscapes my mum used to insist was ‘proper art’.

I had a skateboard since I was 6 or 7, you know a plastic or wood stick with solid wheels, which I’d sit on and paddled around, it wasn’t until a few years later when I saw Back to the Future at the cinema was I introduced to ‘wide’ boards, that was it, that was dawn, the ‘wake up’ moment in my life, for my birthday my mum drove me to the only skate shop for miles ‘Surrey Skateboards’, walking into that skate store was the most incredible feeling, I’ll never forget that, the smell or screen printed boards and stickers, the popping board graphics, the thrash music... it was heaven, from that point on I skated, never very well, certainly not compared to today’s level, but it’s always been in my life and still is today. When I grew in the 80s there were limited purpose built skate spots, most leftovers from the 70s, so for the most part we skated the streets, places like the South Bank at Waterloo or the ‘Wall’ near St. Pauls Cathedral or any suitable kerb or flat bank, those were our haunts, so rolling around London you start to tune in to various aspects of the environment that might lend themselves to an alternative purpose; that architectural feature becomes a skateable object, you scope it out, check for security, skate it, get chased off... you know that shaped so much of who I am, it taught me to look differently at what surrounds us.

Taking the Micky


I recently watched 'Thrashin', a terrible 80's skate film, with a narrative, it really got me thinking about how different those days were, you really had to discover things, dig deep, ask around, get schooled by older kids, there was no just jumping on Google or YouTube, it was much harder to discover these cultures and I have to say films like 'Thrashin', 'Back to the Future' made me long for that American culture, the big blue sky, wide concrete streets, so I guess those films sparked my love affair with American culture and the fact it was so much harder to buy American products or for that matter to visit America, made it all the more appealing and exciting. Those first copies of Thrasher Magazine that I got given from older kids at school, they really led me to discovering skate graphics and the amazing artists that created the board graphics, those early Santa Cruz and Powell adverts and board graphics, they led me to a career in art, albeit unknowingly.

Clown corridor What were your first experiences with graffiti?

My first experience of graffiti was seeing the 'tracksides' out the window of the trains and tubes I took on my travels around London. That and the graffiti at the places I'd skate, most notably 'Meanwhile 2' that always used to have freshly painted pieces. That followed by my mum buying me 'Subway Art' and 'Spraycan Art', those books were seminal eye candy for me. You went to Puerto Rico earlier this year. How did this trip come about, and how did you find the experience?

As with most of the projects I undertake, it came to me. I met this cool guy Alexis whilst painting in the street in NYC, he explained he was curating a mural project in Puerto Rico called Santurce Es Ley 4 and would I like to come over for it. The lure of a big wall, in a city/country that I’ve never been to is more than enough to get my commitment. You know each trip is always so different, from the people, to the climate, to the reaction, you know Tokyo was fraught with terrible torrential rain and the hosts being petrified of any additional illegal activity, Puerto Rico on the other hand was more a battle with seriously sketch cherry pickers, uneven ground and searing heat… That and the wall owner freaking out on the first day because apparently she hadn’t agreed that the wall could be painted… So out of principle decided she didn’t want the wall painting at all… However a bit of sweet talking, a few hours later the game was back on, the owner ended up liking the wall so much she gave me a present and a thank you card when I finished! She realised the positive vibe it would bring to a fairly rough, poor area and how much the locals appreciated someone doing something positive for the area.

I need a riot

Main space

Going nowhere fast

Guilt pleasures How did you get involved with Christina Aguilera’s Bionic album cover?

Are you part of a crew or a lone wolf?

I've never been part of a crew, there's been times when I really wanted to run with a crew, but I've never played well with others and it works better for me to be calling all the shots, where I'm travelling, what I'm painting, what projects I undertake, it just makes life a lot simpler. That’s not to say I work alone, because I don't, I have two very dedicated assistants that help me facilitate the ideas, plans and show works I have. What, if any, are your musical influences?

Music has and still does play a huge part of my inspiration, from a young kid growing up into early hip hop then later discovering punk and grunge music through skateboarding to now, where my music taste is an eclectic mix, but I’m always seeking out new bands to listen to, I play music from the moment I get into my studio to the moment I leave, so I get through music quickly. My love for punk music and skateboarding has undoubtably formed my ‘do it yourself’ mentality which has defined who I am as a person, as an artist. The work I produce today some 20 years later is an amalgamation of all my influences over the years.

Her and her ex husband have been big collectors of my work for several years, she asked me while she was in the early stages of working on the album, I kind of swerved the question, but as the album was coming to the ‘visual’ element, she asked me again, but in the way a woman who gets her own way asks… As a friend and being asked in such a manner, it really didn’t leave ‘no’ as an answer, so I agreed so long as I had complete visual control. Musically that’s her thing, visually that was mine. You have been compared to Cept. How do you feel about that? I have? Well I was compared to Banksy for many years, so at least that’s new. I guess people always want a comparison. I'm just doing me.

Are people more accepting of street art in different countries?

Well it depends on what country, to the most part people are pretty accepting, the difference now is in cities like London people are so aware of the artists and movement, it’s not a case of 'sure you can paint my wall', it’s a case of ok, you can paint my wall but I want money for it, it's good exposure for you.. Which is a real shame… Whereas Puerto Rico, once you start one wall and the locals know you're cool, they're offering up all sorts of walls, for the most part they don't understand why you'd do it for free. When I was in Quito after I got started on the first wall, I had a ton of other walls offered to me, including the local Church. That’s not to say that everyone LOVES what is painted or put in the streets, there's always the people that hate it, or the other artists that don't like the notoriety or agree with where 'street art' has gone and want to destroy the works, but that’s what makes working in the public domain interesting, it’s free of any curator, it’s ageless, sexless, classless… It's free and the only thing stopping you from doing it, is you. In your experience, which country has the most exciting street art right now?

Where do you see graffiti in ten years from now? Do you think there is a danger it might become too mainstream?

I don't have a crystal ball, so I've no idea where it will be in 10 years, but hopefully artists will keep pushing the boundaries of what 'art' is and thus what graffiti is. I just don't see how it can become too mainstream, for every advert that uses a 'hand style' letterform or 'drips' to indicate 'urban', there's a kid who will discover the thrill of painting illegally or the feeling of catching an etch tag and pissing off a whole load of people in the mix. It’s one of the few art forms that can transcend boundaries of mainstream and subculture, it can hang in the homes of the wealthy but still piss of the same person when the wall of their house is tagged by a local crew. If you had no limits, where would you want to go next?

I’d go on a world tour of D*Facing famous landmarks and monuments, starting here in London with Big Ben, then to NYC and the Statue of Liberty.

Argh, thats too hard to call, there’s so much exciting work going on globally right now, the movement is still fresh and gathering more and more weight and diversity each year. That said I think South America is really exciting right now.

Nothing sweet

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Trippy Mind Art By Nancy Fouts

Things are going first-class for Nancy Fouts after a string of amazing solo’s and being endorsed by famed artists and celebrities alike. These surreal inspired sculptures seizes the viewer with a spasm of merriment. Take this nocturnal exhibit for example. An owl it is; but not such an owl as mortal eyes had ever seen.

The strength and impression each piece invokes always leaves you starring in blink amazement and curiosity. These exploitations of everyday objects combined, juxtapositioned and rendered together, transforms them into something absurdly worldly humorous, sometimes nearly unrecognisable, but always with an emotional connection to the source.

Such surreal displays of rich imagination are captivating and surprising, be it pleasant or not. It leaves a huge dimension for viewers to interpret what Nancy Fouts is trying to convey through her work, and in essence, is what makes surreal art a challenge for artists, while at the same time, an awesome adventure for the viewers. Yes, all of that in a single sculpture!

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Words by Jon Madge

Exploration innovation and... avoiding the portrait trap Straddling the border between real and unreal, between referential and innovative Katrine Roberts has created a style which blurs the lines between the portrait and the figurative. Often portraiture is about recreating life but modifying our perception of it, changing the angle, lighting or colour palette. It’s about capturing something that we all agree is real then suggesting how we should feel about it. Even the distorted images of a caricature rely on faithfully recreating the most integral characteristics so that the subject is recognisable. Katrine Roberts’ work somehow avoids this portrait trap. If you could plot it on a graph, her career so far would be a meandering sin wave through pieces that are recognisable as figures, often faces, and those that appear to be purely expressionist. Yet, all of her work makes you feel its an image of a person.

That’s what Roberts does so well: she somehow manages to make you emote, she encourages you to feel about piece before your brain can make sense of it as something familiar. Her pieces are undoubtedly figurative in some respect. They often feature complicated swirling images against a stark backdrop. Occasionally a swirl of colour is reminiscent of hair or a sharp line as a tooth, all of which informs a visceral reaction to her paintings. There are certainly echos of Francis Bacon’s work in Roberts’ but, for the most part, her influences seem mostly technical. Her brush strokes and balance of colour in masterful whilst still retaining an air of fluidity, as if she loses herself in the act of painting safe in the knowledge that she has the skill to pull back when the time comes.

Roberts' new show, at the project space gallery at ASC studios in New Cross Gate, will unveil a new step in work. These new pieces seem to have surrealist overtones. They feature complicated, indefinable figures in what seems to be desert landscapes. As ever, in Katrine Roberts' newest work those cues needed to be certain about what is being depicted and what we should think about it are missing. That, however, is what makes her work so engaging. Artists rarely give us the chance to misunderstand them, to explore their work in the most genuine sense of the word. This writer's advice is take that opportunity. Katrine Roberts' new solo show, supported by ASC, opens on 6th September at the Bond House Gallery, ASC Studios.

ART THE INTRICATE DETAIL OF CAROLINE MACEY Caroline Macey is a print-making genius 25 years in the making. In most forms of expression it’s understood that some of the best artists have to go through a transformation before they create their best work. In pop music there are acts who only break the mould after they change their name or give up on names completely, then there are composers whose genius is at its peak when they’re going deaf. For some reason art bucks this trend; you’re either a young prodigy and burned out by 25 or you aren’t appreciated until long after you’re dead. Either way you’re static. Caroline Macey is a refreshing alternative to this. Her work has had a proper chunk of lifetime to marinade in and it’s fuller, richer and more exciting for it. But that doesn’t mean she’s slowing down. “My work is unashamedly narrative,” Caroline admits, “I get a burning urge to rant on lino. I find it easier to illustrate how I feel than to speak.” She seems to only use adjectives to describe her work that suggest a furious pace, “I love the black and white extension of drawing with the excitement of not knowing what you’ve created until you print. I also think my work is more like lino engraving really.” “When I was a child I drew people non-stop. My dad used to bring home boxes of paper for me and I loved the crisp whiteness of it. I would draw in black biro. So black and white was always in me.” The simplicity of Caroline’s chosen colour schemes is at odds with the scale and scope of her work. “My first lino cuts were huge. I would buy a giant roll and work on the floor.” If her work is as narrative as she suggests, and there’s no reason to doubt it once you’ve let her images wash over you, then they’re epic narratives. Where most artists focus on one or two figures, maybe a group or a street, Macey’s images are stories on a scale usually reserved for Wagner’s Ring Cycle, the Lord of the Rings and all six series of The Wire.

Eve and Adam

Words by Jon Madge

The Flock

“I realised that if I could make the people smaller life would be easier. Vinyl allows me to cut very fine lines. Once I started using it I found that not only the scale changed but I was free to cut more detail. It’s so much softer and pliable. I think I built up skill with it and my work reflects the time I’ve put in.” That time hasn’t just been put into each piece, Caroline has been developing her style for over two decades since she left Central School of Art and Design. In that time she’s brought together techniques from a wide range of media but also learned the confidence to let her works shape themselves.

“With my prints, I never plan them. I start in one spot and spread like a virus until I’ve covered the surface. I draw little bits as I go, always in pen. I do draw a lot in pencil, but always from life. I run life drawing and portrait sessions, so I draw from life every week. My prints are all from my imagination so I need to draw from life to keep my eye in, as it were.” Caroline has taken a path to being a professional artist that I imagine few Central students aim for. She had a career, raised a family then returned after 25 years to create lino and Japanese vinyl prints full of intricate mythological and religious detail. When I asked her where her fascination with these motifs came from her answer was fittingly unexpected.

“Both my parents are communist atheists. It set me apart from others. I always knew I could never fit in with the mainstream.” Somewhat at a tangent, she adds, “I’m a terrible people watcher. I think I see things in quite simplistic terms. I see the pattern in things. I’m free to depict anything I like because I don’t believe in any of it.” That explanation is perhaps best applied to her huge religiously-themed piece Flock. It’s a finely detailed linocut depicting six major religions and their meeting in one humongous clash at the centre of the piece. “Flock came about,” Macey tells me, “because I think at the top of most, if not all, religions is a man in a frock with a big stick.” “It’s a bit like the idea that all dictators have moustaches. I like the simplicity of these kinds of ideas. It got me thinking about the structure of each denomination: the parents pulling their children in to conform but also holding up the next strata of the church. At the centre of the print are the children who are free to find their own friends and groups. I wanted to use one image repeated to depict the discourse between every religion, over and over again until the end of time.”

Rocking the free world

Same as it ever was

Snakes and ladders

For lovers of something a little more pagan, Macey insists her fascination with religion isn’t limited to the mainstream. “I love myths. They are the first science. They are how we explained, to ourselves, natural phenomena.” “I had to make Eve and Adam because I read about the pre-Christian story,” she says referencing a somewhat graphic linocut depicting the creation of the world. “It says that Eve is the creator of the world, she made a serpent to have sex with and gave birth to Adam, the first man. There have been many goddesses written out of history. It makes sense that women were seen to create things.” Caroline’s art is in its ascendancy, her subjects are controversial without being offensive and her manner is charmingly blunt. In short, she’s what every young artist desperately wants to be. You’d think she’d be moving to London, hiring an agent and trying to get on the Culture Programme. But that isn’t her style. “I moved away from London ten years ago but I was born and brought up in South London,” she explains, “I still think of myself as a Londoner.” What she misses, however, isn’t the wall-to-wall galleries or that chance to be discovered. “My favourite place to exhibit is the Urban Arts Brixton. I love showing my work in the street, with that carnival atmosphere.” “That happens in Summer, but I also take part in the Lambeth Open in October. It’s good to connect with people. It’s not all about selling,” she point out, then adds, “although that’s nice.” Caroline Macey is what every great artist should be. By turns she’s bemusing and intriguing and her work is astoundingly original and unashamedly hers. If you have a chance to see it in person, take it. I can’t think of any higher praise for her than that.



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Gill Bustamante / Mike Edwards / Bonnie and Clyde / Marta Rocamora / Electra Costa / Martin Grover / Jill Lliffe / Clinton Croson / Raul Guerrero / Angie Bee / Svetoslav Stoyanov / Steve James Miller / Tom Pearce / Colin Barnes / Aaron Facey / Hutch / Tristram Mason / Caroline Macey / Bob Brown / Phyllis McDowell / James Mayfield

ART Pinocchio’s Inferno

Interview with Andrew Celso

‘The Blue Fairy: Now, remember, Pinocchio, be a good boy. And always let your conscience be your guide.’ We met Andrew Celso, a London-based half Sicilian artist living on a council estate who specialises in painting and printmaking and has mostly exhibited in the East End, to ask him what makes him tick. When did you become seriously interested in painting?

As a child really. I was always interested in having control over my ideas and using painting and drawing as a medium to express them. I started doing this at a very young age. I was always very good at art at school and spent a lot of time in the art room hanging out with other creative people avoiding other lessons, and used to make money drawing tattoos with biro on people’s arms for cigarettes and currency. I failed every GCSE exam at school, except for art, and after that I went to college. Although she thought I was a hopeless case, my mum booked me in for a BTEC course. One of my earliest memories is where I used to hallucinate when looking at objects, like ornaments around the front room, and I distinctly remember a time when there was an ornament of a tiny piano on the shelf in which I saw faces every time I focused on it, almost as if it were singing to me, and I would draw it to try to capture it. I always used drawing as a tool to capture the workings of my mind so I could see them before me in a physical form on paper. At thirty-seven, I still have a collection of art works that go back to when I was seven. Over the following years I worked a lot at home experimenting with different styles and looking at different ways of creating art, and accumulated a body of work. During my foundation course one of my teachers there introduced me to a more disciplined way of painting under his guidance and it was then that I got the bug. At that point my draftsmanship skills were very strong but I was yet to discover the world of colour, gesture and mark making, and at this time I was shown painters who would influence me to this present day.

The Rioter

Words by Britt Pflüger

Which artists, dead or alive, do you admire the most?

First of all, I like a lot of outsider art, mainly because a lot of new things come from it and it is very free. Felix Topolski for his wonderful gestural fast illustrative work which I find very similar to my own style, and Leon Kossoff for his integrity and impasto style. I also like German expressionists such as Max Beckmann and their hard edged style. During my studies, I met a group of street artists and became part of their community, although loosely affiliated, and, inspired by their public acts of art, I combined my world, which was coming from an academic background, with theirs. During that time, a lot of public art was appearing in east London which gave me strength and empowered me to apply for a place at university where I could pursue my ideas. How would you say your style has changed or evolved over the years?

Over time I have learned that the way I perceive things in everyday life has changed dramatically in terms of colour, form and appreciation, and that can be anything from an interesting character in the street or a piece of architecture, simply looking out of the window or deep inside myself. Every day when I commute I see people whom I would love to paint. My work mostly concentrates on literal things like portraits; I like to cover subjects which affect me subconsciously as well as consciously. For example, I’ve always been fascinated by the Pinocchio tale and the philosophy behind it, in particular the separateness of his character from others, and I can relate to him, feeling isolated as an artist in practice and in thought. I think that my painting of him illustrates this idea.


Infernal Vortex One of your most striking portraits is The Rioter. What made you capture this moment of ferocity and discontent?

When I’m out and about in my area in north London, Edmonton, I can feel tension. During the riots, I felt compelled to paint the face of inner London, to bring to life the social frustration and anger. There is no political statement to be found here, but then I don’t try to dictate to people how they should perceive and interpret art; I let the art speak for itself. I can only display my interpretation; as with every work of art it is open to criticism and debate, and that’s the reason why I do it – to have a voice. What’s your favourite medium?

I generally use acrylic or oil paint but will use any medium I can get my hands on to create art.

What’s the history behind Infernal Vortex?

I found a board with stains all over it, and I began to see things emerge like apparitions. I began to pick things out and bring them to life as though I were looking into a narcissistic lake, and I began to see figurative images and content. During the course of that night, which is when I usually work, I left nothing to invention, what I saw is what I produced. It became a psychic alchemy in practice which started in my childhood, in the way I have always seen things. This was before 9/11, but I sensed that something was going to happen. Looking at it, I am reminded of the Apocalypse, or Dante’s Inferno. Living in a very complex society, there will always be paranoia and conspiracy, a feeling of impending doom, and I noticed this as I was talking to a lot of creative people who felt the same at the time. This piece was originally drawn in charcoal in 1997, so it felt like a kind of prediction which was dictated by intuition.

I finished the piece by adding colour in the winter of 2012, as a way of putting it to rest, a cessation after the London riots and the Twin Towers. The Boy with the Bomb could be seen as a disturbing juxtaposition of childhood idyll and destruction. Was that your intention?

Yes, certainly that was my intention, to create that kind of unease, to relate to children and the ways in which they have to deal with the issues they really shouldn’t have to at their age, such as bullying, peer pressure to have the latest gadgets and fashions, and I can relate to this paining because it is fairly autobiographical; it was the same in my childhood when there was pressure to have the latest sportswear or branded item to feel part of the group.

Ladbroke Grove Market

As we can see in this painting, the child is looking out from the tree with his Doubting Thomas index finger directed towards his mouth, and this creates questions for the viewer. But I don’t see the bombs as mere symbols of death and destruction, I see them as issues young people encounter as part of living in a city. Ladbroke Grove Market seems to be quite a departure from your usual subject matter.

This painting comes from a sketch I made in situ fifteen years ago. Over the years I’ve made many attempts to paint from it and I’ve never been content with what I’ve produced from the original sketch. After numerous attempts and a lot of frustration I had a another go at it. I worked on it in oil throughout the Christmas period in 2012. I wanted to capture the gestural nature of the sketch and the expressive use of colour without losing the sketch-like quality. I feel that I created a sense of optimism with this piece; I wanted to capture the open market space, the liveliness, the colour and the liberal atmosphere, and my hopes for a more creative London, which I am beginning to see appearing now. A market place for me is a sign of prosperity, not necessarily in a monetary but in an autonomous way. What are you working on at the moment?

At the moment I am preparing for winter and my return to the studio after an enjoyable summer when I plan to expand concepts and stretch my imagination even further.

Boy with bomb


Words by John Madge

Raúl Guerrero’s sketches show a new side to London’s nightlife

Walkers Court

London’s nightlife, its people and streets, have all the makings of a great work of art. So why have the drama, the colours and the characters so rarely been caught on canvas? Perhaps because the world was waiting for Raúl Guerrero.

“I started being more selective about the scenes I decided to draw,” explains Raúl, “the sketchbooks got bigger. I also decided to not be shy and actually ask people to pose for me.”

“My art developed out of boredom.” It’s not something you hear a lot of artists saying but then Raúl Guerrero is not like a lot of artists. “When I first came to London I didn´t know anyone. I was miserable on my day job so in the evenings I started going out with a small sketchbook, drawing scenes I saw on the streets and in the pubs. I had no pretentions of coming up with something 'arty', I still don´t, I did it purely as escapism, because it felt good.”

“Drawing live is quite hard and demanding. Back in Fine Arts school, in Sevilla, we were trained quite hard at live drawing, especially the human figure. It was a very traditional kind of establishment, and a lot of the students hated it for that reason, but if you happened to be into figurative art these were quite good disciplines to acquire.”

Raúl’s art is an interesting mix of figurative art and caricature. The scenes will be instantly recognisable to a lot of people but are probably quite a long walk from either Hoxton gallery after-parties or the National Portrait Gallery Members Club. They depict the top deck of a night-bus, a group of teenagers smoking on a street corner or a surly Goth schoolboy, clutching a guitar pick on a plastic chair.

Somewhere between that background of traditional artistic rigour and the late night streets of London Raúl has created art that manages to show the mundane in an entirely new light. That’s praise which is often heaped on artists but is entirely true in this case. His pencil images draw you in, focusing your eyes on every detail of an image that you might well have walked past every day for a year.

Chicken & chips



Denmark Street

“London is definitely a great place to do this. The drawings depict people, but it´s ultimately London itself which takes central part as the protagonist of the whole series. The working title of which is in fact The London Sketchbook.” Thinking on this, he adds, “I might change it to The Londoners, as a nod to Robert Frank´s The Americans, the classic photography book.” There are definitely similarities between Raúl’s work and the social documentary of people like Robert Frank, “My work is in the same vein. It relates a lot to reportage photography. Except in my case it takes a lot more skill and the process is much more interesting and fun. For all the fuss about reportage photography, it is just about pressing a button. I´m sure most of the CartierBressons of this world would happily agree with that.” That isn’t to say Raúl’s relationship with his craft isn’t still developing. As he explains, his intention is, “to explore the conventions of traditional portraiture, with influences from the Great Masters, shitty reggae album covers and everything in between.”


“I conceive each drawing as a little melancholy visual poem. They aim to capture a fleeting reality that, by me being there drawing it, I have helped to produce. There is humour, there is sadness and there is beauty.” From their humble beginnings, these drawings have become so much more to Raúl than escapism, “’The London Sketchbook' drawings have, after its tentative beginnings, become quite a mission. I will eventually put them together into a coffee-table sort of book,” explains Raúl, adding, “Publishers out there, I´m talking to you.” “It will be a realistic and highly Dickensian record of early 21 Century London. It will also be, of course, a visual memoir of my time here. My own love/hate letter to the place.” Dickensian seems the right word to describe Raúl’s drawings. They capture London as it is. Not always on a grand scale or with any kind of social message but purely as it was in the moment they were drawn.” As the artist himself explains “It´s classic status that these images are after, no less.”

R G aúl



Check out his whole collections at:

L i c k my A R T A selection of limited edition prints and high quality original art for sale from some of the finest up-andcoming or just ‘too damn talented to go un-noticed’ artists in the UK. w w w. l i c k m y a r t . c o . u k


Gill Bustamante / Mike Edwards / Bonnie and Clyde / Marta Rocamora / Electra Costa / Martin Grover / Jill Lliffe / Clinton Croson / Raul Guerrero / Angie Bee / Svetoslav Stoyanov / Steve James Miller / Tom Pearce / Colin Barnes / Aaron Facey / Hutch / Tristram Mason / Caroline Macey / Bob Brown / Phyllis McDowell / James Mayfield

C-TUNES Getting back to basics A ugust has just finished and that means festival season is pretty much over. It's time to wave farewell to that glorious once-a-year chance to spend weekends sunning it up, discovering great new live bands and trampling grass underfoot.

If you've read the last few issues of this glorious magazine (and shame on you if you haven't), you'll know Cofi Radio recently put on a festival of our own for unsigned musicians, bands and DJs. We could use these pages to say how great it was but we're not the kind to rest on our laurels.

Never mind festivals and formats, what happened to the good old gig?

In fact, if there’s one thing we learned from what we saw on stage and what the fans were talking about after the gigs its this: live music is fun.


With that lesson well and truly learned we’ve spent the last few weeks compiling the very best in live acts from all over London. Some of these are dark and dramatic, like the captivating Tsinder Ash, others are just a get-up-and-dance great night out, Jane Honda springs to mind, but they’re all franly unmissable.

Dead Man Band The name might make them sound like the natural successors to KISS but Dead Man Band have eschewed sequined outfits and full-face painting for the kind of highenergy hard rock that can start and end any great night out. Dividing their time between London and Brighton, this four-piece does two things that, in the excitement of being on stage, bands forget to do: they don’t take themselves too seriously and they put on a damn good show. Their vocal delivery is the real thing that separates them from any competition. Front man Dave Kirk has an inexhaustible supply of audience banter, jokes and octave-spanning instant rock classics. Dead Man Band can make audiences feel part of a live gig, like each and every gig is unique. As Kirk told Cofi Radio, “It’s harder than most people think to get anyone in London to play grass-roots rock music but the scene is alive and very well in the capital.”

Ts i n d e r A s h Seeing one of the greats of music, the Presleys, Mozarts and Doggs, performing live must be one of those moments that you remember for the rest of your life. Seeing them before they’re famous is one of those moments that changes your life. That’s what Tsinder Ash is now. I’m not saying he’ll come to redefine what music is, because he already has, at least for anyone watching a Tsinder Ash gig. Live, he’s one part performance art, one part Louisiana burlesque and a whole bowlful of experimental bluesy folk. He has very little respect for the confines of the stage, preferring to stalk, dance and drum his predatory way through the audience. Then, when you think you’ve got the measure of this shyly coy performer, when you start to take his flouting of convention for granted, he switches it again. It’s an easy trap for the solo singer-songwriter to fall into; to assume that their material is what matters and being on stage is just a way of getting it into people’s ears. Watching Tsinder Ash you get the sense that neither the performance nor the song is more important, that this is the way he played it in the studio, when no one was looking. In years to come people will wish they had the chance to see Tsinder Ash live. Right now you do.

Gabby Gunn DJs have got to be the unsung heroes of live music. When one guy and his guitar stopped being enough to fill a pub, they stepped up and packed clubs country-wide. DJs of the last 20 years, we salute you. That said, how many times have you been out on a Friday night, had a good time but harbored the sneaking suspicion that you heard precisely the same set last week? Great DJs, now they’re hard to find. Someone who can tailor their set to the room, drag an audience onto the dance floor by their ears alone and make a pub in Brixton feel like an Ibiza superclub. If you’re wondering who can do that, the answer is Gabby Gunn. Her sets range from house to hiphop and are always just right. Her energy as a performer is infectious and she’s got that confidence that means she can dance to her own tracks without ever missing a beat. Quite simply, Gabby Gunn is one of the best DJs out there.


‘Be happy. Decide to be happy. If you want to be happy, be happy! No one cares if you're happy or not, so why wait for permission? And did it really matter if you had been deeply unhappy in your past? Who but you remembered that?’

Faber & Faber

288pp £14.99 (eBook: £12.99)


or the past twenty-five years or so, Eric Kennedy has been living a lie. He is not descended from the East Coast Kennedys, and he did not grow up in a privileged cape town while his mother immersed herself in her charity work. In fact, he is not even American: his real name is Erik Schroder (having ditched the umlaut decades earlier), and he emigrated with his father from East Germany when he was still a teenager. Growing up in a deprived suburb of Boston, he hit upon the idea of reinventing himself in order to go to a posh summer camp, an idea which should prove so successful that he has kept up the lie ever since. And indeed life was good for a few years: he met and married beautiful Laura, joined her father’s real estate business, and they had a girl called Meadow. And yet, somewhere along the way – it is now difficult to remember when exactly – Eric and Laura gew apart. It may have started when the recession hit and Eric stayed at home for a year to look after Meadow while Laura returned to teaching. Already divided over Meadow’s education (WASP Laura insisted on sending her to a strict Catholic school), the chasm between the couple widened irrevocably when Laura discovered that Erik kept a dead fox in the garden to show his three year old daughter what happens after death. Now locked in a bitter custody battle, Eric feels his life slipping away from him. On one of those rare days he is allowed to spend with Meadow, now six, he decides that they should go on a road trip up north. And keeps on driving...

Almost before he knows what he is doing, Eric is on the run. They travel through Vermont in a car stolen from a friend and end up in a cabin on a remote lake where Eric finds unexpected comfort in the arms of April, a faded beauty and the eponymous subject of an eighties pop song who eventually hides them in her brother’s abandoned hut deep in the woods. But as Eric finally confronts his past – his childhood in East Berlin, the conflicting stories about his mother, who may have run off with a Communist official but then again may have sacrificed herself for him, his chaotic years in West Berlin and desperate attempts to fit into his new life in the US, his abandonment of his father who had become a threat to his new life – he realises that running away is no longer an option, and he decides to go home. But the net is closing in on him and he may have left it too late... Told in the first person from Eric’s perspective, in a letter to Laura (which he acknowledges she will probably never read), SCHRODER is an exceptionally heart-rending and complex story about fatherhood, identity and miscommunication. Realising that the collapse of his marriage is largely due to a lack of communication, or the sheer inability to understand each other, Eric becomes obsessed with silence, not just the uncomfortable ones, but the ones which contain real meaning. Taking his cue from others (mystics, Buddhists, monks, Pinter) he stops talking after his arrest and chooses to write down his story instead.

There is much underlying moral ambiguity here, and the novel is all the more powerful for it. Although on some level, Eric is the ‘villain’ and there are initial doubts about his sanity, he carries the story’s sympathetic weight, and his love for his daughter is never under question. But there is also the issue of identity, cultural or otherwise, and one cannot help but be moved by his desperate attempts to shake off his past and simply to fit in: the fact that he chose ‘Kennedy’ as a new surname and fake heritage adds black humour on several levels, not least historically. The result is a novel which is very hard to leave alone, beautifully written and structured, brimming with believable characters and utterly moving while avoiding the sentimental pitfalls.

Words by Britt Pflüger

Literary scout, agent and literary consultant at Hardy & Knox


By: Francesca Segal

‘For a people whose history is one of exodus and eviction, the luxury of repetition is precious.’

Vintage 448pp £7.99


rancesca Segal’s award winning debut recasts Edith Wharton’s THE AGE OF INNOCENCE in the Jewish community of north west London. Adam has just proposed to his childhood sweetheart Rachel, to the delight of both their families. Having lost his own father in early childhood, his father-in-law to be Lawrence in whose law firm Adam works, has long been treating him like one of his own, and Rachel’s mother Jaffa is ecstatic at the prospect of welcoming him into her family. For Adam’s mother, her son’s upcoming nuptials is mostly a relief, tinged with a sense of loss: ‘The marriage of a Jewish son is a bittersweet prospect. There is relief, always, that he has navigated the tantalizing and plentiful assemblies of non-Jewish women to whom the children of the Diaspora are inevitably exposed: from the moment he enters secondary school there is the constant anxiety that a blue-eyed Christina or Mary will lure him away from the tribe. Jewish men are widely known to be uxorious in all the most advantageous ways. And so each mother fears that, whether he be short and myopic, boorish or stupid or prone to

discuss his lactose intolerance with strangers, whether he be blessed with a beard rising almost to meet his hairline, he is still within the danger zone. Somewhere out there is a shiksa with designs on her son. Jewish men make good husbands. It is the Jewish woman’s blessing as a wife, and her curse as a mother.’ But just as things appear to go smoothly, and exactly as prescribed by their close knit community which relies on the comfort of tradition and repetition to ward off the danger of instability and loss, Rachel’s wayward cousin Ellie appears on the scene... Ellie, who plays the part of Wharton’s Countess Ellen Olenska here, has recently caused a stir in New York with her sexual antics, not least an affair with a prominent art dealer whose wife now threatens to expose her darkest secrets. Apparently keen to ‘fit in’ in order to make life easier for her and Rachel’s grandmother, the rather formidable and deliciously eccentric Holocaust survivor Ziva, Ellie asks Adam to teach her how to conform with her north London peers. But Adam soon finds himself irresistibly

drawn to his fiancée’s mysterious and vulnerable cousin, and suddenly life with sweet, conventional Rachel seems all too predictable. As the day of the wedding draws closer, Adam is torn between the expectations of those around him and his secret yearning for adventure... THE INNOCENTS is an inspired and witty reworking of a classic, consistently engaging and brimming with satire. Adam works particularly well as the conflicted anti-hero, while Segal’s portrayal of the Jewish community of north west London, where young women combine the brains of a clinical oncologist with the heart of a ‘shtetl daughter’, manages to be both claustrophobic and yet sympathetic, largely thanks to her nuanced characterisation and careful observation. In addition, Segal skilfully straddles genres: there is real depth as well as a saving lightness, and her effortless and yet rich style never fails to engage. This is one of those rare beasts – a truly intelligent and mesmerising tragicomedy of manners for the modern age.


Brian Mills is editor of Movies-by-Mills

Films and Events to look forward to As the summer draws to an end film lovers tend to look towards the cinematic delights that will be on offer to them over the next few months, and there is plenty to thrill and satisfy most picture going palettes



6th September

6th September

A young man discovers time-travel and decides to make the world a better place by getting a girlfriend which is not as easy as he thought. Rachel McAdams, Domanall Gleeson star.

An aging writer bitterly recollects his passionate, lost youth. Toni Servillo, Carlo Verdone star.


I N ’ T H E M O D I E S A I N T S


6th September

20th September

An outlaw escapes from prison to reunite with his wife and the daughter he has never met. Rooney Mara, Casey Affleck, Ben Foster star

Woody Allen’s latest film is a drama about a socialite who has lost everything and moves to San Francisco to reconnect with her sister. Cate Blanchett, Alec Baldwin, Sally Hawkins star.


L E W E E K - E N D

27th September

11th September

A man kidnaps the person he suspects is behind the disappearance of his young daughter and her best friend. Hugh Jackman, Jake Gyllenhaal, Paul Dano star.

A British couple return to Paris many years after their honeymoon in an attempt to rejuvenate their marriage. Jim Broadbent, Lindsay Duncan, Jeff Goldblum star.



11th October

18th October

Somali pirates capture a boat to hold the crew to ransom, but the Captain gives himself to them as a hostage. Tom Hanks stars.

An astronaut and a medical engineer try to work together to survive after an accident leaves them floating in space. George Clooney, Sandra Bullock stars.



1st November

8th November

A woman searches for her adult son, who was taken away from her years ago when she was forced to live in a convent. Judi Dench, Steve Coogan stars.

Looking at the chaotic events that occurred at Dallas Parkland Hospital on the day U.S President John F Kennedy was assassinated. Zac Efron, Paul Giamatti star.

S E D U C E D & A B A N D O N E D 8th November Documentary exploring several interconnected subjects: Cannes Film Festival, cinema art, money, glamour and death. Featuring: Ryan Gosling, Diane Kruger, Jessica Chastain, Martin Scorcese, Alec Baldwin, James Caan, Francis Ford Coppola.

T H E H U N G E R G A M E S C A T C H I N G F I R E 15th November 2nd in the trilogy. Katniss and Peeta become targets of the Capitol after their victory in the 74th Hunger Games sparks a rebellion in the Districts. Jennifer Lawrence, Josh Hutchinson, Liam Hemsworth stars.



Thanks for all the jokes you have sent in. You lot clearly love this page! Try to keep them clean though London, some of these are really pushing it. Sorry for any offence caused.

10 Reasons Not To Jog 1. My grandmother started walking five miles a day when she was 60. She’s 97 now & we don’t know where the heck she is. 2. The only reason I would take up jogging is so that I could hear heavy breathing again. 3. I joined a health club last year, spent about 400 bucks. Haven’t lost a pound. Apparently you have to show up. 4. I have to exercise in the morning before my brain figures out what I’m doing. 5. I don’t exercise at all. If God meant us to touch our toes, he would have put them further up our body. 6. I like long walks, especially when they are taken by people who annoy me. 7. I have flabby thighs, but fortunately my stomach covers them. 8. The advantage of exercising every day is that you die healthier. 9. If you are going to try cross-country skiing, start with a small country. 10. I don’t jog. It makes the ice jump right out of my glass.

10 things in golf that sound dirty 1. Look at the size of his putter. 2. Oh, dang, my shaft’s all bent. 3. You really wacked the hell out of that sucker. 4. After 18 holes I can barely walk. 5. My hands are so sweaty I can’t get a good grip. 6. Lift your head and spread your legs. 7. You have a nice stroke, but your follow through leaves a lot to be desired. 8. Just turn your back and drop it. 9. Hold up. I’ve got to wash my balls. 10. Damn, I missed the hole again.

Evils of Liquor A professor of chemistry wanted to teach his fifth grade class a lesson about the evils of liquor, so he produced an experiment that involved a glass of water, a glass of whiskey, and two worms. “Now, class. Observe the worms closely,” said the professor as he put the first worm into the water. The worm in the water writhed about, happy as a worm in water could be. The second worm, he put into the whiskey. It writhed painfully, and it quickly sank to the bottom, dead as a doornail. “Now, what lesson can we derive from this experiment?” the professor asked. Little Johnny, who naturally sits in back, raised his hand and wisely, responded, “Drink whiskey and you won’t get worms!”

Who Says Men Don’t Remember Anniversaries A woman awakes during the night to find that her husband was not in their bed.

Illustrated by: Alvaro Arteaga

Home from the Air Force A guy who was in the Air Force had just spent a year tour unaccompanied to Shemya, Alaska. The first night he got home, he exclaimed to his wife, “Honey, I want you to know that I haven’t wasted all this time alone. Instead, I’ve mastered the art of mind over matter. Just watch this!” And with that he dropped his trousers and shorts and stood before her in his altogether. “Now watch,” he said. Next he said, “Dick, ten-HUT!” And with that, his dick sprang to full erection. Then he said, “Dick, at EASE!”

She puts on her robe and goes downstairs to look for him. She finds him sitting at the kitchen table with a cup of coffee in front him. He appears deep in thought, just staring at the wall. She watches as he wipes a tear from his eye and takes a sip of coffee.

And his dick deflated again.

“What’s the matter, dear?” she whispers as she steps into the room. “Why are you down here at this time of night?”

The guy responded that he didn’t mind at all, since he was proud of what he had accomplished. So the wife goes next door and comes back with a delicious looking woman who got this guy’s full attention! After a brief pause to take her in, he said, “Now watch this.” Then he said “Dick, ten-HUT!”

The husband looks up, “Do you remember 20 years ago when we were dating, and you were only 17?” he asks solemnly. The wife is touched thinking her husband is so caring and sensitive. “Yes, I do,” she replies. The husband pauses. The words are not coming easily. “Do you remember when you father caught us in the back seat of my car?” “Yes, I remember,” says the wife, lowering herself into a chair beside him. The husband continues...”Do you remember when he shoved a shotgun in my face and said, “Either you marry my daughter, or I will send you to jail for 20 years”. “I remember that too”, she replies softly. He wipes another tear from his cheek and says... “I would have gotten out today!”

“Wow, that was amazing,” said his wife. “Do you mind if I bring our next-door neighbor over to see this? It’s really something else!”

And the dick sprang to life. Then it was “Dick, at EASE!” But nothing happened. So the guy again said, “Dick, at EASE!” But still nothing happened. So the guy now says,”For the last time, you son-of-a-bitch, I said AT EASE!!” Still nothing. Well, the guy was embarassed and ran off to the bathroom. His wife made excuses for him and then joined her husband in the bathroom, where she found him masturbating. “What in the world are you doing?” she asked. The guy says, “I’m givin’ this son-of-a-bitch a dishonorable discharge!”


Artist: Yoanna Pietrzyk in collaboration with Facehunter. /

This is no time to hang about, so take a good look at yourself and make that change. As usual, a disclaimer is needed as these are only the premonitions of our grumpy star gazer and not the views of Laissez Faire!


Just because you are the God of War, doesn’t mean you can go around roughing people up. Open your small mind instead of your big mouth.


You can tell a lot by the way a woman walks. Like if she walks away from you, she’s probably not into you.


Problems and problems and problems this month. When you are trying to balance your trash on the trash can, I think it is time to take it out. Don’t think too much. You’ll create a problem that wasn’t even there in the first place.


A bit of a sensitivity issue this month. Don’t worry about those who talk behind your back. They’re behind you for a reason. Whenever you feel sad, just remember that there are trillions of cells in your body and all they care about is you.



I know you’re egging to snip someone with your pincers. Tip: Freak out your neighbours by renaming your WIFI to ‘MI5 surveillance Van’.

Love is a touchy subject this month. If anyone ever breaks your heart, just remember they are only human and you can break their body.


Time is precious. Waste it wisely. Honesty is an expensive gift, so don’t expect it from cheap people.


A bit of strategy for you Caps this month. If you can’t afford condoms, then you can’t afford kids. If at first you don’t succeed, try something easier.



Do not ever fart in an elevator, especially when you’re alone. You’ll never know who’ll be waiting outside when you get out. In fact, flatulence could be such an issue this month you should make a note to yourself: Wearing headphones do not my farts silent.

Time for a health check this month. A car runs on money and makes you fat. A bike runs on fat and saves you money, also quite smoking cigarettes, there are cooler ways to die.



You can’t always control who walks into your life, but you can control which window you throw them out of.

Want your favourite song to become your leas favourite song? Just make it your alarm tune.

4 1 0 -2 3 1 0 2 s e rs u co s rt A ve ti a WAES Cre Term 1 courses starting Sept ember Subject

Daytime ng and eveni courses


Ceramics Advanced Workshop BTEC pottery for beginners BTEC Certificate Level 2 BTEC Wheel Throwing



September September September October

10 10 30 18

5 5 6 4

Lisson Grove Lisson Grove Lisson Grove Lisson Grove

Daytime Daytime Daytime Daytime

September September September

10 10 30

7 3 7

Senior Street Senior Street Senior Street

Daytime Evening Daytime

January September

20 5

6 7

Lisson Grove Daytime Pimlico Centre Daytime

September September September

10 35 7

7 14 6

Lisson Grove Lisson Grove Lisson Grove

Daytime Daytime Daytime

September September September September

9 50 9 9

6 7 7 6

Pimlico Centre Lisson Grove Lisson Grove Pimlico Centre

Evening Daytime Daytime Evening

September September September September

10 35 10 5

3 14 7 4

Lisson Grove Lisson Grove Lisson Grove Lisson Grove

Evening Daytime Daytime Daytime

October September September September

9 18 34 9

3 3 14 7

Lisson Grove Lisson Grove Lisson Grove Pimlico Centre

Evening Evening Daytime Daytime

Documentary Video Production September Film Directing September BTEC Diploma in Creative Digital Media Production September Video Editing: Final Cut Pro Beginners September

10 10 30 9

7 3 22 7

Piccadilly Centre Piccadilly Centre Piccadilly Centre Piccadilly Centre

Daytime Evening Daytime Daytime

10 10 10 10

3 3 3 3

Lisson Grove Lisson Grove Lisson Grove Lisson Grove

Daytime Daytime Daytime Daytime


BTEC Level 1 Award Introduction to sewing machine skills BTEC Certificate Level 2


Floristry: City and Guilds Level 1 Certificate City and Guilds Level 1 Award


BTEC Level 1 Award BTEC Level 2 Diploma Glass: Advanced Project

Graphic Design

BTEC Award in Interactive Media Level 1 BTEC Diploma in Graphic Design Level 3 BTEC Award in Graphic Design Level 1 BTEC Award in Graphic Design Level 1


Jewellery for beginners BTEC Level 2 Diploma BTEC Level 1 Award Making Silver Chains


Introduction to Studio Photography BTEC Award in Photography Level 1 BTEC Diploma in Photography Level 2 BTEC Award in Photography Level 1

Video and Film

Learn for work or just for fun!

Sessions Hrs p/w Centre

Visual Arts

Life Drawing and Painting (Beginners) Oil Painting: Exploring Mediums & Techniques Printmaking Drawing and Painting for beginners

September September September September

l Enro now!

New fa at Liscilities Grov son e, NW 8!

For full details of our courses and locations of our centres visit our website: 020 7297 7297 Laissez Faire June 2013 - courses.indd 1

20/06/2013 16:42

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Our new learning environments are equipped with spacious workshops and up-to-date arts equipment ensuring that every student has the resources required to gain practical, hands-on experience while studying with us. Visit our facilities and see for yourself! • Brand new glass, fashion, ceramics and jewellery workshops • New high-tech Mac rooms with the latest graphics software packages • Professional photography studio and darkroom.

Enrol now for September 2013 020 7297 7297 Laissez Faire June 2013.indd 1

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