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BOOK FIVE

THE FREEDOM ISSUE

FEATURING

HUGO FARMER

SCOTT MAINS TABATHA STEINBERG

LACEY CONTEMPORARY GALLERY LIBERIAN GIRL NEWS, REVIEWS, ART, MUSIC

‘The alternative arts journal written by you’ Compiled by Spirit de la Mare


BROGUE EST. 2013

Brogue Magazine Book Five “You are what you settle for” -Janis Joplin STARRING Hugo Farmer, Scott Mains, Jamie Blackett Tabatha Steinberg, Benjamin Murphy Ami Punj, Yassine Senghor Tim Wells Olivia Rosenthal, Mandeville Francis Akpata, Pascal Boucher, Andrea Tyrimos, Lacey Contemporary Gallery


Inside cover: Creamus Private View Lacey Contemporary Gallery W11 4AP

To stay informed about upcoming issues of Brogue Magazine please follow us on www.issuu.com, where an on-line version can be viewed and our social media pages listed below: www.brogue-magazine.com www.facebook.com/broguemagazine Brogue on twitter: @Broguemagazine Brogue on Instagram: @Broguemagazine Brogue Magazine Freedom Issue Book Five First Edition Brogue Magazine The official Magazine for the International Brogue Collective (I.B.C) Editor-In-Chief: Spirit de la Mare


CONTENTS IN ORDER OF APPEARANCE

Page 6—General Information Page 7 –Editor’s Letter Pages 8-The Lacey Contemporary Gallery Page 12– We went to… Page 17– Scott Mains Page 27– Tabatha Steinberg Page 34– Olivia Rosenthall Music Review Page 36- Hugo Farmer Interview Page 46—Francis Akpata Page 52—Tim Wells Page 54– Ami Punj Page 56– Liberian Girl by Yassine Senghor Page 60—Benjamin Murphy Page 66– Pascal Boucher


BROGUE Brogue magazine is an alternative, underground arts journal made up almost entirely of public submissions. We are part collective, part magazine although we also feature artists outside the International Brogue Collective (IBC). The Brogue collective is currently made up of thirty seven working artists, photographers, poets, authors, musicians and painters, some of whom are featured within the pages of this issue. We are constantly collaborating between us and actively encourage new projects and additions to our troop. If you would like more information or would like to collaborate with any of our members please do get in touch following the contact details below. Brogue magazine is a bi-monthly publication that is predominantly viewed on-line. However there are a small number of limited edition hard copies available for purchase in our pop up on-line shops and events. (See back of book)

Brogue Magazine was nominated for five Venus Awards this year. The categories are: Influential Woman of the Year– To our Editor-In-Chief - Spirit de la Mare Entrepreneur of the Year– Sponsored by British Engineerium To our Editor-In-Chief - Spirit de la Mare New Business Award - Sponsored by Quality Solicitors Howlett Clarke - Brogue Magazine Home Based Business Award -Brogue Magazine Green Business Award - Brogue Magazine

FOR ALL SUBMISSIONS E-MAIL: BROGUESPIRIT@GMAIL.COM / ENQUIRIES: BROGUE.JODIE@GMAIL.COM


EDITOR‘S LETTER

SPIRIT DE LA MARE

Dear readers, As you probably noticed Brogue had a short break before the release of this issue. We have been re-evaluating the design and figuring out new and wonderful ways to improve all that we do. I am sorry to say this will be the last issue of its kind. We will no longer be posting our issues for free online. However stunning editions will be available in our new shop. Over the next few weeks you will see the launch of our state of the art new website, complete with interactive blog, archives and shop. We will also have our online gallery through which all of Brogue’s artists will be invited to sell and present their work. All featured artists will also be given their own ‘profile page’ making contacting and collaborating with our collective even easier. So as you can see we have been extremely busy. Within ‘The Freedom Issue’ we have explored the many types of freedom. From political to artistic freedom, activism and spirituality. I hope you enjoy the vibrant mix of art and fantastic reviews we have chosen for you to read. Thank you to everyone that submitted work, please continue to do so. Lastly, as you can see we have our first cover star: Hugo Farmer. It was an enlightening experience interviewing a man so artistically and politically astute. His fantastic sculptures and interview can be read on page 36. With that I will leave you with a quote of Hugo’s which I am sure you will all love.

‘Art is a leveler - The hierarchy disappears – everyone is equal.’


SHOWS RED PR PRESENTS

10TH—16TH MARCH 2015 LACEY CONTEMPORARY GALLERY 8CLARENDON CROSS W11 4AP A group show of new dynamic works from five selected artist, whose practices span painting, print, sculpture, and text. Communicating through the languages of figuration and representation, from expressionism to geometric abstraction, poetry and the written word. Creamus(Latin; creator, or to create) as an exhibition that seeks to present a diverse representation of what it is to be a creator through the works of five very different artists for whom the physical manifestation of their thoughts is the culmination of their practice. Though expressed in different forms, through various media and languages, the truth of the individual artist, as one dedicated to the production of their art, is the thread that runs through and between these artists and their works. Creamus is an opportunity for the viewer to contemplate the myriad ways in which the human drive to create, shows itself through the individual dialects of five very different artists. The exhibition serves as a platform on which a dialogue is held between the different works of art, the specific processes behind their production and the mind of the viewer.


The 'CREAMUS' Private View at the Lacey Contemporary Gallery will be held on the10th of March 2015. For further information on the 'CREAMUS' exhibition or to RSVP for the private view please contact us at creamus@redd-pr.com.

Andrew Pegram is a photographer and print-maker living and working in London. His early background is in interior design which has informed and influenced his practice from the beginning, drawing his interest to architecture and the built environment. Christina Fytili is an Athens based artist whose practice is that of a highly skilled and intensely dedicated gestural painter. She studied at the School of Fine Arts at Aristotle University in Thessaloniki, where she started to develop her individual style and approach. D. A. Yew is a London based Poet and artist who has for the past several years traveled, worked and lived across the globe collecting experiences and cataloging memories.


CONTINUED Renata Sasnauskaite is an expressionist artist based in London who works in sculpture, painting and print. Her pieces are reflections on and of her thoughts and feelings. Saurabh Narang is an international artist living and working in New Delhi. His practice includes photography, painting and performance. The main focus of this recent body of work has been complex, intricate and stunning geometric pen and ink drawings. The show is Curated by Ben Micheal Murphy.

After Party Make sure to join us all at The Wellington Club in Knightsbridge for a celebratory after party where guests will be given the opportunity to mingle under the Damien Hirst disco ball and Banksy covered walls and party the night away. The Wellington Club (aka "The Welly") being known for it s affiliation with the art scene has generously allowed all of the CREAMUS guests free entry. Just make your way to the club after the Private View and quote "CREAMUS" at the door.


AN INVITATION


WE WENT TO WANDERLUST AT THE LACEY CONTEMPORARY

‘Wanderlust' got rave reviews from all the visitors at the private view on the 28th of January 2015. Art lovers and creators joined us at the gallery that evening and were temporarily transported to a different world.’ ABOVE ART WORK: SARAH SHAW


Lacey Contemporary presented us with a collection of new works by artists Arthur Lanyon, Sarah Shaw, Sadie Weis and Tahnee Lonsdale which marks the first in a series of fascinating group shows scheduled for the gallery in 2015. Inspired by the word Wanderlust, the four artists explore both physical and spiritual journeys. The collection of paintings, sculptures and installation are an invitation to join them on their visual quest. Wanderlust has captured the imaginations and lives of many, from the groundbreaking female novelist Aphra Behn in the 1600s who claimed to have travelled to South America to gain inspiration for her book, Oroonoko to Yuri Gagarin, the fearless astronaut forever known as the man who fell to earth. This desire to embark on a journey whether physical or spiritual is within all of us and the pursuit of the new and unknown can be ignited in an instant and last a lifetime. Gallery Curator Charlotte explains: ―The journeys we make everyday without acknowledgement, the search for understanding, the losing ourselves in foreign lands; even the journey the pencil takes across the page shapes, enlightens and inspires us.‖ WANDERLUST encases a collection of journeys from four very different artists through exceptional paintings and dynamic installation which embraces this desire. Each artist works in an approach that reveals just enough to ignite questions, almost acting as an open door to their worlds, and the audience is encouraged to step in. From the vibrant abstracts and intuitive marks of Tahnee Lonsdale to the crystalised styrofoam geode structures of Sadie Weis all delight and provoke thought, establishing Lacey Contemporary as a continued centre of excellence for British art.

LEFT: The Lacey Contemporary Gallery in Holland Park.


Featured artist. ‘Wanderlust show’ The Lacey Contemporary


Featured artist. ‘Wanderlust show’ The Lacey Contemporary


Featured artist. ‘Wanderlust show’ The Lacey Contemporary


BROGUE PRESENTS SCOTT MAINS

Born in Glasgow 1985 Scott Mains is an event, editorial and fashion portraiture photographer born in Scotland and currently living in Brighton. Beginning his career in photography Scott started photographing the UK contemporary music scene covering club culture and narrowing his focus to Grime and UK urban music. This led to photographing the cutting edge of the music scene including close collaboration with BBC 1Xtra. Having studied under the tutelage of Mark Power and Aaron Schuman at University Brighton‘s school of Art and Design, Scott graduated in 2014 and continues to cover the UK contemporary nightlife culture and lifestyle scenes photographing many preeminent figures within original UK music. Routinely Scott undertakes both personal and commissioned editorial photographic, video and commercial works.


Cheers to you Dave. The north of England faced that hard hammering of the economic collapse back in 2007. With promises of regeneration, redevelopment, jobs and hope from a fledgling coalition government elected in 2010 it was assumed that mistakes would be fixed and stability would come to those who needed it most. Five years on, and with bold statements that ‗we‘ have pulled through and growth is happening across the country it is important to recognise that what is said isn‘t necessarily the truth. The truth is that the north was forgotten and mismanaged. Figures have been manipulated to cast a positive light on something completely different. ―Cheers to you, Dave‖ is a work in progress appropriating imagery of what the reality is.


The north of England was hammered particularly hard during the economic crash from 2007. Businesses closed, people lost their jobs and houses as a result. The lives of many, not just limited to England were affected in such a way that jobs were no longer for life and security through savings meant little when it is being gambled away recklessly. My father once told me to join the services, or become an engineer, either way as long as it was a government contract I‘d be guaranteed work for the rest of my days. Young me didn‘t settle right with this, jumping back and forth through temp work as if it was going out of fashion. There was an occasional job I held for more than six months, but it was few and far between. By the age of twenty I had been made redundant from a handful of places through mismanagement and bad business deals I could see that there was not only an inherent problem with the management of the companies I worked for, but also being able to see that these attitudes were commonplace in other industries also. My gran once told me to work within a bank; it‘s job security, good pension and benefits on top of salary. A little later that year I filed for bankruptcy. Having charges escalating beyond control with little or no remorse from the staff despite the fact I couldn‘t afford to eat. Was this because of a reckless attitude towards my own spending, not entirely. The original business investment I had taken was proving not to deliver on the results promised and I couldn‘t get work without having to relocate leaving family and friends behind. It was apparent that times were different from what parents and grandparents have said. Security doesn‘t necessarily exist nor does equality with respect to trying to work your way up and through a system for self-betterment. So when we were all told by the fledgling government back in 2010 that things would improve through austerity, I balked, ―tightening the belt‖ or whatever buzzword was used only realistically meant that the poorer were hit while they were already down. Roll on five years, and where are we. Being told that ―it‘s improving‖, ―seeing growth‖, or whatever fact Osborne is twisting for political karma. The truth is this - it hasn‘t got better. Job losses are still happening. Businesses are still closing. The economic split between rich and poor is widening. I could go on, but the simple fact of it is this, if your town‘s high street is now charity shops, and boarded windows and Poundland is even jumping ship because there isn‘t a demand, then it‘s probably a good sign that someone is full of shit and hasn‘t seen the areas that were forgotten when all the new work, and stimulus was created.


Photograph: Scott Mains ‘Wowtan’ -Darlington 2015


Photograph: Scott Mains ‘Boarded Up Shop Fronts’ - Grangeton 2015


Photograph: Scott Mains ‘Furniture Superstore’ Bradford 2015


Photograph: Scott Mains ‘Helping Local Children’-Blackpool 2015


Photograph: Scott Mains ‘Pound Shop’- Barnsley 2015


Photograph: Scott Mains ‘Vacant Premises’ -Blackpool 2015


Photograph: Scott Mains ‘Welcome Café’ -Hartlepool 2015


STUDIO TIME WITH TABATHA STEINBERG

PHOTOGRAPHY:ARTIST’S OWN

IN HER OWN WORDS

Plunged into a world of constant flux and inconsistency, terrified and shaking we try to make sense, order and solidify our universe. My artwork examines this human need to control and preserve what often is transient and fleeting. Viewer, subject and artist step outside the bower of familiarity, exposed instead to troubling uncertainties. I live in London where I am studying for my diploma in Fine Art and hold a first class degree in English Literature. The link between art and writing is an important part of my practice. Words – be it a title or explanation – illuminate and explain a work of art but almost Paradoxically; they slither through and encase a work in new limits and borders. This hankering for knowledge and understanding both fuels our curiosity but spirals a feverish need to gather and contain. My artistic practice is itself a never-ending battle between our desire to capture. Through this concept, my work seeks to come to a visual satiation where a subject so familiar now stands as an uncanny spectra, disordered and dissembled. The idea of finishing an artwork is examined through tears, burns, leaks, layering of surfaces and materials. In this way, there is an acknowledgement that an artwork is in a constant process of existence and change. Where does the end begin, where does the beginning end? An image is immortal; it preserves the dead. But an image can be destroyed, forgotten, misinterpreted, decay.


WORK IN PROGRESS

Tabatha Steinberg ‘Family Series’ Oil on Canvass


Tabatha Steinberg ‘Family Series’ Oil on Canvass


Tabatha Steinberg ‘Family Series’ Oil on Canvass


EARLIER WORK

Tabatha Steinberg ‘Study for Head 1’ Charcoal on torn paper


Tabatha Steinberg ‘To Stendhal’ Oil on Canvass


Tabatha Steainberg ‘Untitled’ Charcoal on burned and torn paper


INTRODUCING

MANDEVILLE WORDS BY OLIVIA ROSENTHALL

Mandeville, based in London and Essex, are a four-piece garage band that consist of brothers Jack and Max Lewis (vocals and bass), Matt Wilksinson (guitar and vocals) and Caroline Flavill (drums). With riffs and melodies reminiscent of The White Stripes and early Kings of Leon, Mandeville has been expanding their fan base for the last five years. They are band that love to record, and you would most likely find them laying down tracks in renovated churches, which is where they‘ve recorded their most recent EP. Ahead of their launch, Brogue was able to speak to Max Lewis, and ask him about what we can expect from their new tunes, and their fuzzy music. Max, Mandeville has been together for nearly five years, what’s the story behind the band? Here is my version of the story: Mandeville was started by myself and my brother, and Caroline at one family Christmas. Even though we all had other projects on at the time, we thought, why not do something else? I was already in a band playing bass at the time, so Mandeville really gave me a chance to write and sing my own music, which was nice.

What can you tell us about your upcoming EP? I believe the EP will have five tracks, all brand new tunes. We recorded it recently at Grand Chapel Studios, which is a giant converted chapel outside of Milton Keynes. Its‘ now a studio… it even has its own original Pipe organ! How long were you guys working on the EP, did you find it a difficult or easy process? We all decided to scrap a lot of our old songs, so it was a rush to come up with five new tracks, we never set our selves a specific time frame…we booked studio time and we were still working on some of the songs well into recording them. As it still remains untitled, do you have any ideas of what you’re going to name it? All the songs are kind of different on the EP, so we still unsure of what to actually name it as the songs are so varied. We have some two-minute stampy punk tracks, and then some heavy riff tracks, and then songs that are a little more minimalistic…so it‘s proving to be a bit difficult to give it a name! You’ve categorized yourselves as garage rock online, but how would you describe


Most music is now available on mp3 format these days, how do you feel about that? Do you think this is an easier/better way to get your music out? I‘m not sure, I would love to be able to preach for vinyl all the way, but I do love a bit of online searching… it‘s so easy to search for, and find out about new bands online that I would never have heard of any other way…

your music to someone who didn’t know who Mandeville was? Fuzz...plenty of fuzz When writing songs, what comes first – the sound or the lyrics? Jack, my brother, and I sing each song…. Matt (drums) used to sing his own songs but he decided to take a step back. It used to work out that all the songs I wrote I‘d sing, and all the songs Jack or Matt wrote they‘d sing. But we decided to change that a little bit recently, I still sing the songs I write but everyone has a lot more input… With me it‘s always the lyrics. I hear a passing phrase, or I hear a word I want to use in a song… that‘s where I start. I make the song around one line, sing that line how I want it to sound and carry on until the end… sometimes that one word or phrase is just a random part of a verse but when you find that one word you know what the songs about. You recently uploaded the song “Supreme”, with a very colourful video on YouTube, can we expect anymore singles/videos from Mandeville? Our good friend Sam Gainsborough, who‘s a very talented guy, created the video. I feel supreme was the first song we were all proud enough to really push. Hopefully something will come out of the next bunch of tunes, but we hope to work with Sam again in the future.

Although Mandeville is London/ Essex based, you yourself used to live in Brighton, what are your opinions on the music scene there? I love the Brighton Music scene. I arrived there a few years ago, just as this new scene in Brighton started out. I used to play in a band called Bayy, which we formed there, and we played quite a lot of shows in Brighton. We went separate ways, and now members of Bayy now play in other bands such as Magic Gang, Our Girl, Abattoir Blues… but Brighton has a great music scene, and a great community, everyone playing with everyone…. What’s the best gig you’ve ever played? Best gig we have ever played… well, I like it loud. We played a show at Old Blue Last in Shoreditch in London, and it was a huge, loud, sweaty mess - which I loved. Do you have any plans for touring this year? Touring… we may try and venture out, I would need to get a bass amp first though. Aside from the release of your upcoming EP, what are your plans for 2015? Any festivals? Of course the biggest Essex festival of the year, Brownstock, is always on the cards. It‘s a festival we play at nearly every year. I also think we will be in the studio again in the not too distant future. We love recording, and now we have found the perfect place to record in, we are really happy. And lastly, if you got a chance to play any festival anywhere, which one would it be? Coachella - I love the dessert Mandeville’s unnamed EP will be available at the end of April. Above: Mandeville EP cover art.


BROGUE PRESENTS ARTIST

Above: Hugo Farmer in his studio. Photograph by Josh Fray

HUGO FARMER REASON FOR INTEREST: Known activist with left/anti-capitalist/anarchist leanings. Currently suspected to be plotting a campaign of propaganda calculated to foment unrest through the medium of art – specifically sculptures and paintings. Said inflammatory acts and communication are not as yet actionable in criminal terms in the UK but warrant closer scrutiny lest they trigger more widespread art attacks. BACKGROUND INDICATORS: Subject‘s background is far removed from what might be described as the obvious hothouses of radicalism, with no proven links to known anticapitalist groups or with intellectual Marxist cadres of the ilk of the so-called Cambridge Five. On the contrary, the subject‘s forbears are illustrious, if not necessarily conformist and it is the opinion of this agency that this provides an ideal cover. Positive and negative influencers include:


• Father: Racing driver of some renown during the 1970s who appeared in The Italian Job feature film – alcoholic and known as a ‗loose cannon‘. • Grandfather: Reverend Peter Pitt-Brooke, vicar, Conservative Avon County Councillor and honorary Bristol City Alderman. • Stepfather: Jim Scott, ‗Hippy‘ activist and Hare Krishna member associated with the utopian Auroville – an ashram founded by the Sri Aurobindo Society in Tamil Nadu, South India as ‗a universal town where men and women of all countries are able to live in peace and progressive harmony, above all creeds, all politics and all nationalities‘. The subject lived in this environment for some years from the age of three, during which time there is reason to suspect he was inculcated with the above mantra. • Jim Scott continued to brainwash his stepson on returning to their native Bristol, where he was the Green Party candidate for Clifton (in direct opposition to the Rev. Pitt-Brooke). • Captain James Brooke, celebrated first white Rajah of Sarawak, who brought an end to piracy and slavery in the Malay Pensinula. The model for the hero of Conrad‘s Lord Jim, Rajah Brooke‘s was something of a British Empire icon after his heroic rescue of civilians from the Moro Pirates in 1862.It has therefore been mooted that his swashbuckling adventures and simultaneously pro- and anti-establishment stance may have been the mould that shaped the subject‘s own brand of subversion.

KNOWN/SUSPECTED SUBVERSIVE ACTIVITES: • Reported political espionage dating from teenage years. Subject is known to have worked undercover for his Green Party card-carrying stepfather. Activities included the theft of Conservative Party campaign correspondence with a view to sabotage. • Other early crimes include burning of, and expectorating on, Conservative campaign posters. • Unconfirmed reports on 2nd April 2014 of attendance at the ‗Seventeen Contradictions of Capitalism‘ lecture by prominent Marxist thinker Professor David Harvey at the London School of Economics and Political Science, a known hotbed of radicalism. • Subject captured on CCTV buying Prof. Harvey‘s tract, ‗Seventeen Contradictions and the End of Capitalism‘. • Wires report chatter concerning subject‘s plan in the wake of the SE Asian Tsunami to set up a ‗crack commando squad‘ to help victims of natural disasters. Evidence suggests subject has undergone rigorous training in first responder rescue skills. • Anti capitalist marcher INFLAMMATORY REMARKS: ‗I don‘t see anybody as more important than anyone else… Regardless of race, ethnicity, creed or class it‘s important to take on board everyone‘s opinions…‘


HUGO FARMER INTERVIEW BY SPIRIT DE LA MARE

Above: Featured Sculpture ‘The Sergeant’’ -Hugo Farmer Photography: Yeshen Venema

Q: As I understand it; you came into the art world later on in life than many other artists. What were you doing with your creative skills beforehand? A: I guess my creative skills have been put down in layers over the past twenty years – I‘m a trained boat-builder and sound engineer; I have built sets, produced shows and festivals for artists, theatres, communities and also commercially. I am lucky enough to have made art and produced shows for some of the most respected artists of this current time.

A: When certain working relationships came to a natural end, I was left without a voice. A lot of the projects I was involved with were gaining national and international press. I still had a pang to get my views and opinions across so...I decided to give being an artist in my own right a shot. I‘ve always wanted to spark debate – to get people thinking. That time was the right time to strike out on my own.

Q: Are there any artists that you feel were significant in your creative development, if so please tell us how they were instrumental in your own journey. /From what other Q: Was there an obvious turning sources do you find inspiration for point, a particular moment or occur- your work. Do you have any unusual rence that led to becoming an artist ways of facilitating or encouraging in your own right- or was it a natu- your creative output? ral progression. A: My inspiration comes from all sorts of places; from words I hear


and images I see, to documentaries I have watched. Pictures and images make the biggest impact – particularly travel and photojournalism. Listening to radio programs and having impromptu debates with friends or strangers are all ways to stoke the creative fires. Making music has been a part of my life since I was a teenager – that‘s an important source of inspiration.

then smoothed and cut them, printed and painted them. It felt as though I was joining the debates that others had started.

Q: You seem keen to have a voice and to give a voice to many. Has your upbringing (political/moral/social) been one of oppression or sacrifice? From where do you find this need to raise the downtrodden, give a voice to the ignored and highlight the obvious social issues that seem apparQ: Your work carries with it obvious ent in your work? political/moral overtones and underA: I learnt about differences in potones, many of which are at the forefront of public sensitivity. Was litical and religious opinion from my family. There was about as much this your reason for producing the work in the first instance, were you divergence as you can imagine. When sourcing inspiration from the public I was a child my grandfather – an upstanding, rugby-playing, C of E themselves or were your intentions vicar – stood for the conservatives to make a statement of your own? in the local elections. My freeA: I‘m fascinated by the public‘s thinking, Buddhist, robe-wearing reaction and involvement in polistepfather stood against him for the tics. Disengagement and disinterest greens, my mum was a staunch Labour are really serious issues in my supporter. Each encouraged me to mind. I hope to inspire audiences to sabotage the others‘ campaigns by think about this. There is interdestroying their posters and leafesting research at the moment around lets. But it showed me the imthe concept of ‗policy not party‘: portance of free speech first hand that voters are surprised by the and that people can hold unshakeable policies of the party they support. but diametrically opposed views. Often unable to tell the parties apart just by reading their poliLiving and travelling in the develcies. And when people are asked to oping world (I lived in India as a match policy to party- the results child) brought me nose-up to people are not what they expect. It‘s who have much less than we do but about image and hype, and how that are not necessarily any less happyaffects people‘s judgment. Just like and are often happier. It‘s not a other aspects of life: celebrity, cliché that money doesn't buy happithe press. There are a lot of par- ness. Having material goods isn‘t allels. the answer. Sometimes a simple life is the happiest. The research I did on historical press reporting for Article Ten re- Art is a leveler. The hierarchy sulted in the newspaper screen disappears - everyone can access it prints which formed part of the equally. I find that gives me a show. I ordered old newspapers which freedom to express myself in a way I arrived in packages from all over can‘t with words. the world. Each was a piece of history in itself, some were a hundred years old. Some told big news sto- Q:Your previous solo show depicts ries and boasted dramatic headlines. rather dominating brass statues. Each had been handled and folded, What was your reason for leaping inread and argued over by others. I to 3D and what do you feel it added


to your work/project? A: I have always worked in 3D. From set-building, designing and casting ‗skateable‘ objects. I think in 3D, so sculpting was the obvious avenue for me to explore. The canvasses and prints came out of the ideas prompted by the sculptures. With Article Ten the aim was for the 2D and 3D work to chime – to reinforce and expand the message inherent in each.

set out to impress people. I have to be true to myself and if others like my work, or if it provokes interest-that‘s a bonus. I‘ve always wanted to spark debate and get people thinking. If I‘ve inspired a little of that with my work then that means a lot to me. Q:You make no secret about your political views. Do you feel that this is an artist’s responsibility to make their political, moral and social standing more obvious?

Q:Do you intend to remain in bronze or will we see you venture into othA: No, artists don't have a responer mediums as your work progresses? sibility to have particular views, or to share them. This is something A:Bronze makes you think of ancient which matters to me – I want to busts or grand public monuments. I share my views and encourage others wanted to do something humorous, to turn that idea on its head. By cast- to share theirs. But it‘s a matter of personal choice. ing not emperors or battle-heroes but a hoody-wearing man-on-theQ:I understand that you have recentstreet (the sculpture called ‗Ohm Boy‘), and surrounding him with com- ly donated work to the campaign 'Arts against Farage in Thanet'- An peting figures of supposed authority. Bronze is such a powerful medi- exhibition aimed at raising money um; it gives a sculpture permanence, for campaigning against UKIP's ever and are far less disposable. I guess strengthening hold in the region. – to put it loftily – they will out- Firstly is there any particular reason why a man that votes green live me. (correct me if I am wrong) is involved in this campaign/what are The process of making a bronze is your reasons for donating your work? multi-faceted and involves a symbiotic relationship between a sculpIn fact I‘ve always voted Labour in tor, his model and his foundry man. I like that. It‘s an ancient tradi- general elections and Green in locals. I think UKIP is a terrifying tion. Wolf and Stone (the foundry which casts my bronzes) has an amaz- party that is whipping up danger in constituencies like Thanet. I have ing pedigree. They have cast for close friends who live and work in some incredible artists: Anish Kapoor, Anthony Gormley and Marc Quinn the area and was happy to be asked among others. They are true crafts- to donate work to the campaign. I really hope that the Labour Party men and it has been a privilege to can return to its former glory, inwork with them. The sculptures are spiring loyalty and giving voters selling- I like the idea that the the confidence that they can propermedium causes a buyer to think hard ly represent the electorate and lead about what they are buying. the country. I‘ve read a lot about Q: You have been incredibly well re- Kinnock‘s ideas on the ‗third way‘ - I think it could be a route to a ceived by the public and art world alike. Which, if either is more val- more equal society. ued to you? Q: Once again you are being outwardly political with your work. Do you A: The public, definitely! The art consider yourself to be a 'political world is a funny place and I never


Hugo farmer ‘The Priest’ Bronze Size: 72 x 100 x 45cm Cast by Wolf & Stone Photograph:Yeshen Venema :


CONT.

artist' or will we find Hugo Farmer tle more about this? venturing into other areas of interThe short film I made as part of my est? debut for the Article Ten show was A: I think I‘m more of an ‗antiamazing fun, both to plan and to establishment‘ artist, rather than create. I had a fantastic team who just political – the monarchy, reli- worked with me on it and the CG work gion, the lot! I guess I‘m interest- and soundtrack all added to the efed in equality and I have something fect. I found the medium of film to to say about the institutions that I have such a compelling impact. I think promote or exploit inequality. certainly plan to do more. That‘s why my ‗Ohm Boy‘ sculpture is listening to the preaching of a Q: Lastly please tell us of any priest, a sergeant and a politician forthcoming shows or exhibitions – and struggling to make sense of it where we can view your projects? all. A:The show in June was pretty overBut this period in the run-up to the whelming and I haven‘t found it easy election is an exciting one. I to get back on my feet. I feel like can‘t help but be vocal about what I Gregor – the character in Kafka‘s consider to be important issues as Metamorphosis, when he finds himself the public is considering how and a cockroach, stuck on his back wavindeed whether – to vote. ing his feet in the air. I‘m hoping I‘ll soon be able to flip back onto my feet and get started again. I‘d Q: I have heard rumors that your work may take on a documentary style love to have a show to coincide with with the possibility of moving into the election next May. Let‘s see. film. Are you able to tell us a litOpposite page: The Youth‘Ohmboy’ Brass Size: 104 x 133 x 104cm Overleaf: ‘The Politician’ Bronze Size: 80 x 94 x 65cm ‘The Sergeant’ Bronze Size: 82 x 96 x 70cm All cast by Wolf & Stone Photography: Yeshen Venema


BROGUE PRESENTS

FRANCIS AKPATA IN HIS OWN WORDS I was born in Nigeria and first came to London in 1991. In Nigeria I studied Fine Art and Literature at the University of Benin but am mostly self taught. I then studied Philosophy at Kings College, London where I also focused on aesthetics. I constantly experiment with colour and form, I never start my work with a preconceived idea of how it must look at the end. I mix representation and abstract art and see the former as using more of the conscious mind while abstract art relies more on the subconscious mind. I am influenced by African sculpture, European expressionism and Russian abstract art. Through painting I am able to bring thoughts and feelings into being. Ideas that would have been fleeting are nurtured and visualized. While growing up in Nigeria I studied the guilds in Benin City where they focus on forms that express the magical or spiritual. My style is also expressionist. Even though there is some representation the objective is not the depict reality. I use my brush strokes and choose my colour, light and shapes to achieve a particular effect. I often allow my intuition to guide my painting so that subconscious ideas manifest through colour shape and form. To give the work a deeper context I sometimes depict objects from more than one perspective and the sense of depth is not systemic. Some of my paintings have been described as cubist because of this. I work and live in Shoreditch London.


Above: Fancis Akpata ‘Woman’ Oil pastel on paper


Above: Francis Akpata Untitled Oil pastel on paper


Page opposite: Francis Akpata Untitled Oil pastel on paper This page: Francis’s unusual works on display in the tube tunnels fthe ‘Art Below’


BROGUE PRESENTS

TIM WELLS

Dear Oxbrige, I speak your language. Ish. Tim


The Daily Grind It‘s not that I‘m sipping coffee where once costermongers swigged mugs of tea. Things change, we know that. Hope for it even. But that the dreams they had, and I strive for still, that they amount to nothing. As do we. That never changes. The more the tamping, the more bitter the brew. What really bites the cupcake is that even the little we have, the bastards feel entitled to that too.

Tim Wells


INTRODUCING AMIRAN KEL PUNJ LETTER TO A HOMOPHOBIC HETEROSEXUAL

Dear Homophobic Heterosexual, Thank you for your invitation to S-T-R-A-I-G-H-T Bar this weekend, but I don’t think I can come. I mean, what if a man hits on me? I can’t possibly tell him that I’m flattered, but not interested. I tried that once. I told a man I was just there to dance. He said ok and that’s what we did, but I’m sure he must have thought I was straight. I just can’t be seen there. I think it would damage my reputation as a full blown lesbian. What if someone I knew was there? What if it got back to my workplace, or my family? Or my friends? I don’t think they’d believe that I just had straight friends and wanted to have a good night out. In fact, I’d appreciate if you didn’t talk to me in public, or sit next to me at conferences. You shouldn’t have added me on Facebook and you really shouldn’t write on my wall. People might think we are dating and this makes me feel weird. If I have a girlfriend, people might think I’m cheating. If I’m single, they might think I can’t get a girl. Of course I respect your choice, but I think it’s totally unnatural. In fact, I’m thinking of petitioning for heterosexual sex to be a criminal offence. I think it should carry a life term of imprisonment. If justice won’t work, the LGBTI mob will pick up the slack. In fact, I also think that while I’m at it, I’ll ask the government to criminalize surgery, artificial insemination, medicine, haircuts, make-up, shaving and clothes. God created us naked. It must be a sin to cover up. No, don’t worry. I’ll pray for you. Maybe God will forgive you. In fact, a friend of mine knows a holy man. He’ll save you. It might hurt a little, but we’ll get rid of your demons.


If you really can’t change, I’ll understand. Just don’t tell anyone ok? Just pretend to be gay and we can all carry on. Sure, you can join the army. Go ahead…put your life on the line for your country, fight for your nation’s security and freedom. But one word that you’re interested in the opposite sex and it won’t mean a thing. You’ll be out of a job and you can forget that medal of honor. I really wish you hadn’t told me you liked me. I hate you for telling me you thought I was a kind, beautiful person. You must be sick in the head. Only a girl should tell me things like that. If they want to sleep with me, it’s a normal kind of lust you see. But you know I’m getting married anyway. You’re invited to my wedding. But no suit. You have to wear drag. Otherwise it will be weird. If that makes you feel uncomfortable, you better not come. If you do come, just make sure you smile in the pictures. I’ll introduce you to some of my gay friends. I’m sure you’ll hit it off. Maybe you’ll get married some day too. Just, please stay away from my children. I don’t want you encouraging them with your male to female desires. They might grow up confused. They might not understand single parents, or divorce, or abuse. They might run off and get pregnant as a teenager. I just want them to be happy so they’re not teased in school. Of course, I wouldn’t dare try and explain those things to my kids. I think I’ll talk about you at the dinner table and make sure they know it’s weird that your kids have a father and a mother. They’ll grow up just like me – a heterophobic homosexual…except…I’m not heterophobic you see and of course I was being ironic. You know quite well that this is not what I think at all (!!!) …which is why I’m so confused about why you hate me so much, but I hope you get my point. You see, I’ve grown up understanding your world and learning to live within it. I just wish you could learn to do the same. Yours A Person.

For more articles of interest please visit www.regendre.com


THEATRE REVIEW

LIBERIAN GIRL

BY YASSINE SENGHOR

A few weeks ago I had the privilege to witness one of the best theatre productions I have ever seen. That is a weighty claim given the amount of theatre that I attend, but it was a piece that truly moved me and caused me to consider things much greater than myself. The play in question was Liberian Girl the debut play by Nigerian playwright Diana Nneka Atuona, conceived as part of the Royal Courts Peckham Writers Group project. Her vivid imagination, attention to detail and ability to find the humanity where it has been decimated is commendable. It is hard not to associate the title of the play with the 1987 Michael Jackson song by the same name which brought so much pride to Liberians. Here, the term Liberian Girl is tinged with shame, and the harsh realities of being a girl during wartime are brought to life in graphic focus. This is a

stunningly accurate depiction of Liberia during the civil war period from 1989-1996. It follows the story of Martha, a 14 year old bookworm who lives with and cares for her grandmother. She is about to embark on the tribal initiation ceremony known as "visiting bush school" when she and her grandmother are forced to flee their home as rebels approach their village. In order to prevent sexual violence against Martha, her grandmother disguises her as a boy, a costume which proves too effective when Martha is indeed saved the horror of rape but instead gets recruited by rebel forces. The fate of her beloved grandmother is never confirmed. As Martha becomes Frisky, she is immersed into physical training, brainwashing and the camaraderie she forms with her fellow young soldiers, yet she never loses sight of who she is. The relationship that develops between her and her de fac-


to bush wife Finda exposes the vulnerability that remains despite the enforced maturity she must embrace in order to survive. The level of research that must have been done to write this play is astounding for someone who did not live through it. Atuona negates the old adage of "write what you know". From capturing Liberian accents and slang, to the understandings of intricate tribal differences and the brainwashing techniques used upon the child soldiers, such high levels of detail are captured that you are transported directly into this world in a jarringly effective way. To those unfamiliar with it, the Liberian accent is an oddity indeed. A distinct American drawl hidden within the influences of indigenous tribal languages, it was not only impressive to see how well this was captured in the writing, but also how well it was executed by the actors. To maintain that throughout a

performance in a convincing manner, whilst depicting some of the brutal and physically demanding actions is a credit to their focus and endurance. Director Matthew Dunster and the design team's bold stylistic choices create a world that is utterly realistic and easy to get lost in. Through the moving of a cart to the placement of a washing line, we manoeuvre between locations effortlessly. I am generally a bit suspicious of "immersive" theatre. I have paid for entertainment, not to have to do half the work myself. Yet with this piece, although you had the option of being seated, being engaged with the action was essential. You are herded around the arena with guns pointed in your face and being yelled at in a genuinely frightening way that gives us a brief insight into the fear and hardship those who had to endure it in reality. Being


so near violent scenes of rape and aggression evokes the helplessness of being in that situation with no control of your own fate. The calibre of acting was phenomenal from such a young cast. They are utterly convincing, so much so that when taking their bow at the end, they are almost unrecognizable as the ferocious and damaged characters they embodied moments earlier..Valentine Olekuga's "Killer" is menacing, malicious and almost feral. Yet in his own way, he is attempting to take on a leadership role and help his group survive. As Martha, Jumah Sharkah's posture physically changes as her innocence is stripped away and she becomes the hardened Frisky, yet vulnerability and sadness is always present in her eyes. It is almost unfathomable to believe this is her professional debut given that she commands the stage with such restrained intensity. Weruche Opia as Finda, the traumatised girl who dedicates herself to Frisky maintains youthful optimism despite the atrocities committed against her and she offers glimpses of hope in spite of the tangled circumstances which have enveloped them all. My mother was from Liberia and some of my earliest memories are of my grandmother's farm there, just before the war started. It would be twenty years before I returned for my sister's wedding and to witness

for myself the way that war can ravage a nation. That innate connection remains but the land was ultimately entirely foreign. However, in that theatre, I felt a distressing recognition of a place that was somehow familiar to me. Upon leaving the theatre I spoke to my sister who had been with my grandmother in Liberia for several years of the war. As I regaled her with tales of the efficient acting and the realism of having prop guns pointed in my face, she confirmed the veracity of that portrayal of war. She told me about having guns pointed at you constantly, by government soldiers, by rebels, it hardly mattered. Access to weapons gave people a sense of impunity that meant there were no real good guys or bad guys when you are trying to navigate your every day existence in those circumstances. The bullet holes in the set reminded me of the bullet holes that still mark the trees and walls of my grandmother's compound. The bullet hole which still marks my grandmother as she was shot in the leg by soldiers wishing to set up on her land. Yet she chose to return, not only to the same country but to that very house which holds so many fractured memories. This says something for Liberian resilience and echoes the refusal to escape to Guinea by Martha's grandmother. It is hopefully this resilience which will allow


the country to survive the aftermath of its ongoing hardships. This powerful play would have a lasting effect on anyone who witnessed it, but it had a particular resonance for me. As I stood in this imagined warzone, I could not help but feel that a simple turn in my fates could have seen me really living through the war as so many close to me did. In watching it, seeing strangers and actors depict what my family have not been able to articulate, I finally began to understand them. Cold shoulders, a difficult grandmother making selfish demands, closed off and distant relatives, unable to express the pain they had suffered. A piece fiction allowed me see the people in my life more clearly. Given that last month saw the 70th anniversary of the Liberation of Auschwitz, the importance of war and remembrance is particularly pertinent at the moment. The second world war was of course on a much grander scale, but there is a tendency to place conflicts happening in Africa in the realm of the far away. Yet is so vital that depictions of this war are brought to light. It is so important that these stories are told so that people can stop looking at Africa as some distant land but see real people enduring real suffering. If something powerful, beautiful and creative can be salvaged from all the tragedy, then some hope remains. Black creative voices should not be restricted to telling tales of woe and tragedy, but when they do choose to tell those stories, they also manage to find humour, strength and to retain a sense of self through it all that forms what Africa is today. The theatre is obviously a journey of imagination, and therefore a character does not have to be black or African for a black audience to relate to them. However, with this said, there is an unavoidable lack of black representation in film, television and theatre and the message that this sends out is that black stories are not of interest, that they are not important. Shake-

spearian actress Janet Suzman recently spoke to The Guardian about the lack of black audiences at the theatre due to the fact that, 'Theatre is a white invention, a European invention, and white people go to it. It's in their DNA. It starts with Shakespeare." This is incredibly flawed logic for a plethora of reasons but at the end of the day, there is still a huge disparity of representations of people of colour on stage. To see a play written by a black woman and performed by a black cast in a theatre run predominantly by black staff and with a predominantly black audience was a powerful experience for me as I am often the lone black face at theatrical events. In an ideal world the race of the characters on stages wouldn't matter at all, but that is not the reality of the world we live in. We have to appreciate that as it stands, black audiences are being alienated from the creative industries, but also there is a lack of interest in black stories by universal audiences. This is something that has to change and if there was ever a piece of work that has a chance of doing that, a piece that is as creative, innovative, nuanced, well written and well acted as this one might have the opportunity to make that change. Every aspect of this play was important, from its immersive format to the acting to the story itself. To put on a play depicting a war that has occurred in recent memory is a bold move by a first time writer, as it is a huge subject matter to try to condense into 95 minutes. Yet it is done with such style and grace, that this play helps to open up honest discourse about the hardships of war. It might also serve as a demonstration of the important of telling a variety of stories, and while it need not take on the mantle of representing all black creativity, it is a shining example of why the potential contribution to the arts of black writers, actors and stories should never be overlooked.


BROGUE PRESENTS VISUAL ARTIST

BENJAMIN MURPHY

Benjamin Murphy is a visual artist who creates artworks using the esoteric medium of electrical tape. Innocence, fragility, obscenity, beauty, despair, chaos, love, vanity, and vice are all frequently occurring themes. Benjamin‘s influences often come from classic literature and poetry. Whilst ninety per cent of what Ben does is in the studio, he sometimes likes to venture outside and create artworks that scale buildings- Most recently with a forty foot instillation as part of a group show. The show was for Anti-Slavery International. In the last few years Benjamin has exhibited in: London, Amsterdam, New York, Ibiza, Berlin, Poland, Luxembourg, Manchester, Liverpool, Italy, Leeds, Bristol, and Sheffield. Benjamin has a Bachelor‘s Degree in Graphic Design and a Master‘s Degree in Fine Art, both from The University Of Salford.


This Page: Benjamin Murphy ‘Earthly Powers’ Made using black tape Photography: Nick JS Thompson


This Page: Benjamin Murphy ‘Skull Hugger’ Made using black tape Photography: Nick JS Thompson


This Page: Benjamin Murphy ‘Card One’ Made using black tape Photography: Nick JS Thompson


This Page: Benjamin Murphy ‘Velvet Cushion’ Made using black tape Photography: Nick JS Thompson


THE HOUSE ILLUSTRATOR JAMIE BLACKETT

This Page: Jamie Blackett (House Illustrator) ‘Untitled’


CULINARY TALES WITH PASCAL BOUCHER

PLATEAU, 1 BARTHOLEMEWS , BRIGHTON More often than not, when asking fellow foodies- where to eat in Brighton, Plateau will come out in the top three. However after hearing of a friends negative experience; I was slightly reserved in my expectations.

am no connoisseur but I know what I like. The Pino Noir was certainly not what I was expecting. However I decided to persist with it. Several items on the specials board did cause the whites of my eyes to glisten but I'd already made up my mind. I wanted meat and I It was a quiet Monday evening so no need to wanted lots of it! I must have the Plateau de book. The restaurant was boasting just one viandes. Simple. However there was a conflictother busy table. The service was great with a ing voice inside, something about the plateau natural warmth exuding from the waitress and de poissons was still whispering to me. With other members of staff. so many choices and my inner dialogue reaching near hysteria; I decided another trip must be The specials were pointed out but not pushed booked. There were so many delicious options, on us, this pleased me a lot as I am stubborn far more than I could ever eat in one sitting. with my food choices. There were definitely more options than I had expected, this was on- I already knew I wasn't going to waste prely going to make the decision making process cious stomach space on starters, but it even more of a challenge. doesn't hurt to look does it? Wrong, another conflict and instant regret, why did I look? Wine, let's start with the wine! Several things were definite winners... Take a It was at this point we made a fatal error. I breath... you haven't ordered yet! That inner


dialogue now reaching total disarray. Truffle & pecorino frites had to be done, along with the seasonal veg - every meal must have a bit of green on it. As the rain beat gently against the window, and the candle flames gently flickered almost in time to the music, I was able to take in my surroundings without the distraction of menu choices rattling around my mind. The brushed steel bar stools and exposed brick work teamed with the endless bottles of wine displayed on shelves of different shapes and sizes were homely yet elegant. It was almost as though I was in a living room albeit a rather fancy one.

very subtle with a slightly stronger after taste, rather woody, almost smoky, it went particularly well with the herby dressing.

Other than a quick glance when they were placed on the table- I had all but forgotten the side dishes. Far to simple in comparison to the meaty deliciousness before me. I was slightly disappointed with the seasonal veg, which consisted of beetroot and more beetroot, different colours but just beetroot all the same. The fries also disappointed me. Too soggy for my liking. They were tasty enough but marking them on there own they would only get a 6 1/2 out of 10. Fries are only good when done extremely well. However the main attracI smelt our food before I could see it, earthy tion more than made up for everything else. meaty aromas filled the air. As the Plateau was presented on the table I have to admit; I When it comes to sausages, it takes a lot to get me excited. Taking that initial bite into was dangerously close to dribbling. A carnithe Toulouse sausage was a make or break movores dream had been placed in front of me. The most difficult decision; where to start? I ment, I so wanted all four meats to be of the same standard. A few more chews and I was one went straight for the pork belly. Something very happy diner. The various couscous and that has always disappointed me in the past was now causing all my senses to smile. It was lentil accompaniments were nice enough and like butter melting in my mouth. A salty, suc- served their purpose to accompany each meat culent smoky butter. I wanted to savagely and but in truth they wouldn't have been missed if they weren't present. selfishly consume the whole piece, instead I moved on to the braised ox cheek. I could not As I mentioned we made an error with the wine choice, throughout the meal many positive comget this food into me fast enough, it was so ments were made about the food, but none about rich and creamy into my mouth. The ox cheek the wine. Both myself and fellow diner baffled and pork belly was enough to carry the whole dish, simply divine. Time for some game, driz- by the fizz we didn't order in our Pino. Still zled with a fresh herb dressing. Now this was that meat was good. almost too pretty to tackle. My hesitation lasted mere seconds before I was delicately retrieving small slithers of meat from the teeny quail leg. Having never eaten quail I half expected the words 'tastes like chicken' to leave my mouth. However the flavour was

Despite the slightly average sides, and mistaken wine choice the meat was the main attraction and easily deserves an eight out of ten. Had the sides been slightly better and perhaps had better wine advice I would probably be giving a nine out of ten instead.


Brogue magazine www.brogue-magazine.com www.facebook.com/broguemagazine Twitter: @broguemagazine www.twitter.com/broguemagazine Instagram: @broguemagazine www. Iconsquare.com/broguemagazine

Editor-In-Chief www.facebook.com/spiritdelamare Twitter: @xspiritdelamare www.twitter.com/xspiritdelamare Instagram: @spiritdelamare www.iconsquare.com/spiritdelamare Email:broguespirit@gmail.com If you would like to submit work for the next issue of Brogue Magazine please contact our Editor-In-Chief Spirit de la Mare Address on request For all press enquiries please contact Spirit de la Mare Email and Google Plus: broguespirit@gmail.com For all submission enquiries please contact Jodie Gough Email and Google Plus: brogue.jodie@gmail.com For all general enquiries please contact Emily Gould– White Email and Google Plus: brogue.egw@gmail.com


Please do not hesitate to ask for the contact details of any artist featured in Brogue. Limited Edition Collectors copies of this issue will be available on Monday to celebrate the launch of our new website, agency and shop. These coffee table editions will be slightly different to what you have seen today.


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