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The Obsessive Impulsive Issue. Part Two. First Birthday Special Edition.

“The poshest blog I’ve ever seen”

Photo by Skunkmunki.

Introduction. Adicolor. Aidan Kelly. Asbestos. Conor Harrington. James Jarvis. May Contain Nuts. MuteGrab. Paul Seawright.

*Deviliously addictive. Rekal. Ross McDonnell. Skunkimunki. Sneaker Freaker. The London Police. THS. Tim Biskup. Trevor Jackson. Wrongwroks. Candy Most Wanted.

Candy is an independent venture developed to showcase exceptional Irish creativity and culture alongside international equivalents. All informations and visuals contained within this document remain the copyright of the creators, they are simply being shown for the purpose of presentation. No elements of this document may be used, reprinted or transmitted without the prior consent of the publishers and the people featured in the piece being featured. Should any credits be wrong, please contact us and we’ll set it right next issue. Postal address: c/o Dynamo, 5 Upper Ormond Quay, Dublin 7, Ireland (We LOVE when stuff arrives in the post, weekdays can be so boring otherwise!!!).

© 2005 Me&Eye. .

Front cover. ‘Gamagon Header Card’. Illustration by Tim Biskup. This page. ‘Devil Fire’. Photographed by Ross McDonnell.


Yo shorties, it’s our party... Yep, it’s our first birthday issue and we’re very excited indeed. What started as a visual spurt has turned into something really special, and it’s all thanks to you guys, the readers... Every other day I get mails of encouragement from all over the world saying they like what we’re up to and it seriously helps fuel the energy it takes to put this baby to bed. 6 issues later comprising of countless interviews with the world’s leading creative talent, 10 SweetTalks, a huge project with Habitat Ireland, a lovely website, loads of new acquaintances and about a billion projects about to drop in the next year, it’s been a rollercoaster ride and we don’t want to get off, hopefully you don’t either!! The last couple of months too have seen us receive quite a lot of press from all over the world. The New York Times (us), PRINT (us), Computer Arts (uk), De-Bug (ger), Totally Dublin (irl), Image (irl), The Dubliner (irl), The Irish Times (irl) & The Sunday Tribune (irl) have all been hugely supportive so thanks to all them for their positive acknowledgements. We even made it onto the cover of a student journalist end of year magazine which is both very cool but also very strange indeed (I personally far prefer it behind the ‘puter!), Mucho gracias.

This page & next. Joe Ledbetter ‘Ms. Bunny’ Dunny. Part of the LA Series of Dunnys, this version was given away to lucky hidden ticket winners Willy Wonka stylee. Wait ‘til you see the back of her head (next page), we have fans in great places!! More at

Anyhoo, on the issue, this one sees us pick up where we left off the last issue and continue our theme of obsessive impulsives and yet again we’ve got interviews with some of the most exciting and exceptional talent worldwide. We’ve also made some new design tweaks including clickable links which make it even easier to find out more and make it harder to resist buying some of the cool stuff we mention. We’ve also updated the end section and called it Most Wanted as that’s what it is, the stuff we want the very very most... So on with the show, hope you enjoy, we’re off now for the Summer to enjoy the sun and eat some birthday cake, feel free to send us presents. ;-p Keep well. Richard Seabrooke.

Staff. Contributors. Thanks.




--------------------------------------------------------Cork Dry Gin, PRINT Magazine, The New York TImes, Darren at Computer Arts, De-Bug, Con and Peter at Totally Dublin, The Dubliner, Melanie at IMAGE, Refill Magazine, Mark at Blanka, Merryl and Paul at Kidrobot, Rilla and Steve at Rinzen, Lorraine and Sarah at Adidas, Matt at Addict, John and Paul at GF Smith, Bryan at SEA Design, Oisin at The Sugar Club, Damian at Frank, The Kelly Brothers, Matthew and Emelie at M&E, Hugh at Make, John and CJ at Colonel Blimp, SILNT, all the peeps at Airside, Michael Gillette, David Rooney, Jon Burgerman, TADO, Matthew Talbot-Kelly, Mike at DADDY, all at Angry, Jon Averill, Lina and Lee at Die Gestalten Verlag, Stephen at Creative Ireland, all the contributors, anyone we’ve missed out and of course, you the viewer... Now, let’s get you fed... ---------------------------------------------------------

Arveene who interviewed Woody from the sneaker loving global publishing success that is Sneaker Freaker. You may remember Arveene from the last issue where he unveiled his sneaker collection so this made him the perfect man for the job. Dan Willett (ex Playlounge) starts a regular update which sees us follow the production process of a toy from concept right through to production. Frankenstyles had recently moved from Dublin to take on the challenges of working for Buck in LA. He’s also found time to update his site at and to interview his good friend Asbestos which sees us do justice to his miserable showing in Candy 1. Booooo for us!!

Staff. -------------------------------

Richard Seabrooke. -------------------------------

Aidan Kelly. -------------------------------

Asbestos. -------------------------------

BrenB. -------------------------------

Kevin Horan & Cameron Ross. / -------------------------------

------------------------------Postal address. Richard Seabrooke. c/o Dynamo, 5 Upper Ormond Quay, Dublin 7, Ireland. -------------------------------

Richard Gilligan delivers a jaw-dropping (pun intended, you’ll get it when you see it) photo story taken at the lost and found office in London. Watch out for the next issue where we go ask him some questions and hope he answers back, we may have to coax him with crisps... ---------------------------------------------------------

Very Important Note: If you see anything in this magazine that inspires you, hell if you see anything anywhere, find out who did it and go tell them.. Go on, they don’t bite!!

One word can only describe the launch of Candy’s biggest project so far... Bonkers!! Okay, so we expected a crowd, maybe a big crowd, but hell we didn’t expect over 700 people to descend on Habitat’s flagship store in the heart of Dublin to see the work on show from some of the best peeps working here in Ireland. On the walls were the results of a project which had taken around 6 months to organise and involved the most legwork yet for any Candy project but it was well worth it as you’ll see from the following pages.

View the online gallery at

50 creatives were approached to do one original piece each, these pieces were then printed 50 times each 50cm x 50cm and are on sale for the very affordable price of 50 euro each, art at an incredibly affordable price. Since the launch the project is selling well but there’s still plenty left so make sure you get your sticky mitts on incredible pieces of work. There are 3 ways to now buy a slice of the action so best get stuck in before they sell out as they’ll never be reprinted... ever... no sireeeee...

01 /

Adrienne Geoghegan.

02 /

Aidan Kelly.

03 /

Scott Burnett @ Angry / Aad.

04 /


05 /












06 /

Richard Seabrooke @ Candy.

07 /

Libby Carton @ Carton LeVert.

08 /

Celestine Cooney & Jacob Sutton.

09 /

John Lambert / Chequerboard.

10 /











Chris Judge.

11 /

Eamon Doyle @ D1 Recordings.

12 /

Mike Ahern @ DADDY.

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16 /

Paul McBride @ Detail.

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Jamie Helly @ Dynamo.

19 /

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Donal Dineen.

David Holmes.

14 /

David Rooney

Eva Byrne.

15 /

Paul Madden @ Delicious 9.

Shaughn McGrath @ Four5One.

21 /

Stephen Kelleher aka Frankenstyles.

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26 /

27 /

David Joyce.

Glenn Leyburn.

Linda Brownlee.

23 /

24 /

Aiden Grennelle @ Image Now.

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28 /

Lorcan Finnegan @ Lovely Productions.

29 /

Matthew Bolger @ Me Design.

30 /

Gordon Goodwin.

Joanne Hynes.

Michael Kelly @ Mickey & Johnny.











31 /

Mike O’Toole.

32 /

Naomi Ryder.

33 /

Nicola Webster.

34 /

Nina Hynes.

35 /

Donal Thornton.











36 /

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Niall Sweeney @ Pony.

39 /

Tim Redfern @ Pixelcorps.

40 /

Oliver Jeffers.

Paul Regan.

Mary Doherty @ Red Dog.











41 /

Redman AKA.

42 /

Robert Carr.

43 /

Ross McDonnell.

44 /

Sally O'Sullivan.

45 /

Simon Burch.











46 /

Peter Maybury @ Softsleeper.

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David Donohoe @ Studiomime.

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Trevor Hart.

Vanessa Marsh.

Ciarรกn ร“Gaora @ Zero-G.

3 ways to buy a 5O by 5O print. Off the wall.

Call or email.

International orders.

Visit any Irish Habitat branch (Dublin, Belfast or Galway) and place an order for the prints you want, if you’re in Belfast or Galway and the print you want isn’t in the store simply ask a member of staff to call the Dublin branch for an update on stock levels. If it’s still available they’ll get it sent to your branch and you can pick it up. Perfick.

If you call or email any of the Irish branches they can organise the prints you want ahead of you visit into the store. Otherwise they will post them to you for the nominal fee of 2.50 euro each so now you’ve no excuse... Simply call or email your name and a list of the prints you want and they’ll be more than happy to help you out, tell them Candy sent ya...

International orders are now open so please feel free to send an email with your name, phone number and the prints you want to

Dublin : 00353 1 6771433. Belfast : 02890 249522.

Once they get your order they will give you a phonecall back and organise your purchase over the phone. As they’re a shop they can accept any major credit cards and if you want to send a cheque fire ahead, they will hold your prints until the cheque arrives and get it sent out straight away once it does. There is a flat fee of 3.50 euro postage and packaging wherever you are in the world for every print you order. Cheap as chips I tell ya...

Galway : 00353 91 569980.

View the online gallery at

Candy in association with Cork Dry Gin, GF Smith and McGowans Digital Print present SweetTalk 10.

Wednesday June 7th 2006.


The Sugar Club, Leeson Street, Dublin.


6 Euro. Doors from 7pm.


Cork Dry Gin reception from 7pm. Limited edition treats from GF Smith & McGowans Digital Print for early arrivers. SweetTalk is supported by McGowans Print, GF Smith Paper, Blanka, IDI, Die Gestalten Verlag Publishers, ICAD & Creative Ireland. / / / / / / / /

Click the links! Clicking on any weblink will now automatically launch your browser window. Candy must apologise for this very handy development, our sympathies to your credit card. Here’s one for boys to test... Here’s one for the girls... If you’re not sure...



Following on from the success of the 35th Anniversary of the Superstar trainer last year Adidas has gone one better this year with the Adicolor project. Not only is this is a collection of 42 shoes designed by some of the world’s most respected creative visionaries including Claude Closky for Colette, Barry McGee, Keith Haring, Fafi, Dave’s Quality Meats, Toy2R, Crooked Tongues, Peter Saville, etc. but it’s a online project aimed at showcasing emerging talent, even giving one lucky blighter the chance to have their design officially made in an insanely low production run of 50 pairs, simply by having some fun creating their own design on the online design tool. Organised into various palettes, each has it’s own set of themes and also spin-offs, the breadth, scale and scope of each having to be seen to be understood. From billboards to toys, from apparel to commissioned animations, from exhibitions to club nights it’s simply astounding how Adidas have engaged with so many creative people at one time. Now long gone the W1 (see next page) will go down in history as one of the most desirable shoe sets ever. Our faves otherwise have to be the Colette, Crooked Tongues, DQM, Huf, Toy2R & Tron versions... Not to wear of course, just to sit back and admire. They are art afterall! Text and interviews by Richard Seabrooke.

Previous page. Adicolor montage. This page. Style G2 by Peter Saville.

W1 : Adicolor LO.

W2 : Adicolor HI.

W3 : Century.

W4 : Sport Goofy.

W5 : Superstar II.

W6 : Bill McMullen Superstar II.

1.When, Why and How did Dave’s Quality Meats come about? The When the Why and the How question well I came up with the idea while I was working for Zoo York Skateboard company in the late 90’s I wanted to make a shop like this because no one has done anything like this and I felt NYC needed a friendly atmosphere where you could go and ask question and not feel funny cuz you may or may not know something about what it is you are asking for. The shop opens its doors in 2003 that is the when.

Interview with Dave Ortiz, Owner of Dave’s Quality Meats.

2. What’s your motto? If you don’t have one, what do you reckon it would be? I’m from the working class and I work everyday and I feel that if you work hard for your money like I do then RESPECT is what you get when you want to purchase something from DQM. I don’t see how a person would want to give there hard earned money to someone who doesn’t respects them. 3.What do you think it is about your approach that seems to have grabbed the collective conscience? What do you think it is about exclusivity in general that seems to have struck a chord? I think that the place really makes you feel like you are at a butcher shop and it’s like a small town that is what makes people get excited and we make good stuff. 4. Recently you were one of only a handful of the world’s style leaders to be asked to collaborate with Adidas on the Adicolor project. How did it happen and how did it work out? We were asked by Adidas to do the Adicolor project and it was great we worked with a friend and artist named J-MONEY and he knew what we were about as a brand and made this fantastic shoe that represents what the sneaker game is right now. The MONEY BAG is so true on so many levels it’s mind blowing…

5. Anything upcoming from your good selves that we should start saving for? There is always up and coming with DQM at the moment we have a VANS that we did that will be out for back to school the design concept behind this was Chef ’s they are so hot right now so we came up with a gingham print the same as the chef pants you can buy on the bowery at any chef supply store. They are really hot to be honest. 6. Favourite products this year (either out or upcoming)? I guess that would be the ANGUS tee that we did with photo by Michael Halsband he use to shoot ACDC and the STONES as well as the famous Warhol and basquiat boxing photo. 7. Most disappointing? The most disappointing product that came out DC shoe that wasn’t suppose to hit the floors but some how made it out and it really sucks and doesn’t represents us as a brand it’s kinda like a bad joke. 8. The ultimate collaboration that hasn’t happened yet? The ultimate collaboration I guess that would be to make something with CHANEL that would be hot. 9. The soundtrack to your life at the moment, what gets you through the week, what gets you dancing, what gets you singing? I guess Led Zepplin you can never go wrong with a Led song all of them are great. 10. Any obsessions or impulsions you’d like to share? I guess I OCD over TV and my shows I have to see them when they air or I won’t watch them it’s weird.


BK1 : Claude Closky for colette.

G1: Jim Lambie for The Hideout.

R1 : J-Money for Dave´s Quality Meat.

BL1 : Black Tiger Studio for styles.

P1: Wood Wood.

Y1: HUF.


BK2 : Keith Haring.

G2 : Peter Saville.

R2 : Surface To Air.

BL2 : Cey Adams.

P2 : Fafi.

Y2 : Taro Okamoto.

This page. Adicolor vs Toy2R Qees. Left & Bottom. Artist Qee exhibition at Bread & Butter, Berlin. Top middle. 3 inch Adidas Qee. Top right. Adicolor Qee set, limited to 1000 sets worldwide. More at

This page. More toy on toy action courtesy of Toy2R, Nekonoko, Evil Design & others.


BK3 : Crooked Tongues.

G3 : Emilio Pucci.

R3 : Dark Horse Comics.

BL3 : Toy2R.

P3 : VICE.

Y3 : Panini.


BK4 : Trimmy.

G4 : Kermit.

R4 : Betty Boop.

BL4 : Tron.

P4 : Miss Piggy.

Y4 : Mr. Happy.

Top. Adicolor custom by Tado for exhibition in Singapore.

Bottom. Some of the design submissions entered into the Adicolor competition. The winner will get their design produced in a limited run of only 50 pairs ever.

Adicolor Movies Click to view


Click to view


Click to view


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Click to view


This page. Adicolor customs by Jon Burgerman for Singapore exhibition. http://www.jonburgerman


BK5 : Leather.

G5 : Camo.

R5 : Suede.

BL5 : Denim.

P5 : Satin.

Y5 : Monogram.


BK6 : Bill McMullen - NYC.

G6 : Bill McMullen - Staten Island.

R6 : Bill McMullen - Manhattan.

BL6 : Bill McMullen - Bronx.

P6 : Bill McMullen - Brooklyn.

Y6 : Bill McMullen - Queens.

Interview with Vincent Skoglund, Official photographer for the Adicolor project.

01. How long have you been a photographer? How did you get into it? I have been a photographer since 1990 but then I’ve been a professional photographer since 1995. It was an exciting time with snowboarding and it’s culture just exploding, without rules and present ideas how things would be done. Since then I’ve been branching of into different fields of photography. It is pretty exciting.

03. When you go about doing a shoot what do you hope to get out of it? In the best case you get something unexpected, something you can never think about. Situations in everyday life can be very interesting. Of course it also depends of the nature of the shoot, but for the images you see here together with the Adidas Adicolor project nothing was really planned before meeting the people I photographed

I went to school to become a film director, but it turned out to bee such a slow process. The creative circle from start to finish was so long, so I got hooked on photography where everything is faster. That definitely appealed to me in my mid teens.

04. Recently you were one of only a handful of the world’s creative leaders to be asked to collaborate with Adidas on the Adicolor project. Tell us a little about how that happened and worked out for you? I got a phone call from Adidas and they asked me if I would do this collaboration with them. It started off quite small, but the project grew bigger in an organic way fast. It’s been very free to do what I want. I am actually impressed with the way Adidas Originals approach this, big companies are usually pretty determined to have things a certain way, but this has been very open to do whatever. That, of course, benefits the project.

02. If you weren’t a photographer what would you be and why? I’ve got this box from Indonesia, and it said; Vincent Skoglund, Photography; from FedEx. My friend told me: ”Hey, that’s what you’re into, a mix of philosophy and photography” I don’t no how true that is, but its pretty funny.

05. What do you think it is about your work that made you so appealing to Adidas to work on this project? Might be that I am pretty good at being spontaneous with ideas and figuring it out at the location, right before shooting. It is hard to plan out how to shoot in places you have never been. I think it comes from shooting snowboarding where things constantly change. The snow, the light, the mood of everyone involved, the temperature, etc. I have to see how I can use whatever happens to what I am trying to portrait. 06. Travelling the world and meeting some of the worlds best talent did you see any commonalities between them, is there a common thread that holds them (and us) together in your opinion? Yes I think so. That was one of the best things about the trip. To see people with such a different backgrounds be creative in different ways. But still being in the same kind of mode. It is priceless to be in that mode. It does not matter wheater you are hanging out in DUMBO in NYC making graffiti or if you are in a big marble house in Florence, the feeling is the same. It is not at all depending on what you are doing or where you might be.

07. What’s is the deal with the prints that resulted out of the shoot? Are they for sale? Yes, they come in editions of 5, signed and mounted. If you are interested you can check them all out on 08. Who would you consider as heroes and influences? I like the rules of nature and everyday life. The way that humans try to keep nature on a certain safe distance is fascinating. More than anything I get inspired by this. But there is also so many very different things I like. One photographer might have beautiful light in her images but the subject is not interesting or a painter that has amazing ideas but it does not come through all the way. A lot of people have something inspiring about what they do.

09. Anything upcoming that we should start saving for? I have been working on a landscape project for about 2 years. That is almost ready to go soon. It will be so nice to start showing this and kind of get the creative circle complete. This one is my baby. 10. Any obsessions or impulsions you’d like to share? Go snowboarding when it is snowing.



While Asbestos got just a page back in the first ever Candy we thought we’d try hook up with him again to do justice to the work he’s done to make the streets of Dublin and further afield a whole lot more interesting. Working mostly under the cover of darkness and generally on his own, he employs a range of different elements with the intent of engaging with the folk who usually let everything around them slip by. Whether it’s his arresting dollheads, thought-provoking yet very funny Lost stickers or his grandscale stencils everything Asbestos puts his hand on is considerately placed in the cityscape in order to maximise it’s effect. Not content with this he’s also placed himself in the centre of the street art scene worldwide as he’s recently finished his second Secret Santa Swap. This involves signing up talent from all over the world to produce a unique piece of work which they send to another artist in return for a piece done by another artist chosen at random. With numbers spiralling into the hundreds this is a labour of love that sees him give over plenty of his precious paste up time to the hugely ambitious project. Back to business though and Asbestos is leading the charge here in bringing art into our environment, especially here in Dublin. If you’re ever here have a look out, mind you, he could be coming to a town near you soon too. Text by Richard Seabrooke / Interview by Arveene. Previous page. ‘Dolls heads’ in Dublin. This page. ‘Dolls head’ on plaster.

Next page (left to right). ‘Dolls head’ in London, ‘King of Clubs’ in Dublin, ‘Jesus Saves’ in Dublin, ‘Dolls head’ in Mon Marte, Paris.

Asbestos, me ol' kipper! You're one of the busiest bees on the street and I know you love what you do. Why and when did you get started in the whole street art game? I've been fascinated by traditional graffiti for years, but never had any ambition to try it. I' have a lot or respect for the traditional graffiti scene but I don't see the pint in tagging and I didn't like the thought of painting one name over and over again. So, when I saw the work of Faile, Swoon, D*Face and Shepard Fairey, about five years ago I realised that you can create work on the street in so many different styles and mediums. Their work blew me away and inspired me to get off my ass and start creating. You don't have to you spray paint or fat markers, you can use any medium you want. It seems so damn obvious now, but at the time I'd never about graffiti in that way. Street art is a very broad term, but in essence it's anything creative produced for the street.

Your work spans many different mediums and you are very open to experimentation. How do you approach making a piece of street work? What's your process? I've no art training whatsoever, so I'm still learning the ins and outs of different artistic techniques. This means that I've been experimenting for a long time with any technique I can find and any method of getting my ideas realised. It's not necessary to have a background in art to be able to create. The most important element in any work of art is passion and you don't need a degree for that. I've used everything from monosodium glutamate to makes stencils, gold leaf, wheat pasted posters, stickers, photocopies and spray paint. But the technique I've used the most is acrylic transfer. I take a photograph, photocopy it and then paint directly onto the photocopy with acrylic paints. Then I paste the wet photocopy onto whatever surface I want the painting on. This is usually found bits of wood or plaster board. Once the paint has dried I start to remove the layer of paper by wetting it and rubbing it off bit by bit. Then end product is a mix between photography and painting. My fingers get blistered from rubbing off so much paper, but its part of the process and is strangely fulfilling to have to make such an effort to get the finished piece.

What are some of the re-occurring themes of your work? Is there an overall message or sentiment that carries throughout your work? The message that's emerging in my work at the moment is getting more personal. Much of my work had a dark humour to it, but now I'm trying to take things I see on the streets, like homeless people and random street scenes and then painted them and put them back out on the street. Overall, I try and arrest people as they go about their business. I want to put up work that both intrigues and surprises the passer by. With my dolls head pictures, some people love them others are freaked out by them. I like the fact that there's more than one way of reading an image. So, I give the person who sees it more than one way of looking at the piece.

What are the advantages of putting your work on the streets as opposed to in a gallery for example? You're connecting with people in an informal and direct way, it's a buzz seeing someone stop and look at your art. Whether they like it or not, I've made them think. Last week when I was walking back to my studio, there was a young girl sitting in the front of a white van with her Dad. She was reading one of my lost stickers on the traffic light beside her, and nudged her Dad to ask him what it was. She laughed at it, he was a bit confused. Job done. A gallery knows its clients and caters to their tastes, they need to sell their art, so from the start they have an agenda. Very few galleries will take big risks by choosing unknown artist or artists that have no background in art school. Very few galleries will every show their art to that girl and her Dad in the white van. I don't go into galleries as much as I used to, I prefer to look in the laneways behind the gallery to see what's on walls. >>

Previous page. Various Lost stickers.

Right (top to bottom). ‘Paris Tramp’, ‘Tralee Horse’ & ‘Untitled’.

This page left. ‘Paris Woman Tramp’.

Next page. ‘Dolls heads’.

Previous page. Various ‘Secret Santa’ pieces from artists around the world. This page. Various ‘Merbras’

You are the creator, co-ordinator and driving force behind the annual Secret Santa Swap. Tell us a little about it... It started two years ago when I decided it would be cool to hook up artists from all over the world and let them swap art. Everyone sent me their name and address and then I put all 250 of them in a hat. Each artist pulled from the hat had to send a work to another artist on the list. In essence it was the biggest Kris Kindle in the world. It was amazing to see the effort people put into the event. This year there were nearly 300 artists involved. Check the gallery out on my site and you'll see that there was some great work produced. There's a lot of good will out there in the street art community and it was a lot of fun being in contact with that many people.

For some reason though there were a lot more problems this year and a lot of work either got lost in the post or was never sent. I'm still waiting on so many people to send me pictures of what they got. The gallery will be online very soon, but I'm not sure if I'll do another. The effort it takes is immense and I'm a bit concerned that some people got involved to get something free and took advantage of other peoples generosity. If I do one this year it will be much smaller and will be a bit different from the last two years. Coupled with that I took on a sponsor for the last event and they pulled out at the last minute. They were supposed to send everyone a free goodie pack with a print, some stickers and other presents, but they went awol at the last minute. It pissed me off because I only took on a sponsor to give everyone involved an extra present. So if I decide to so it again this year I'll have to come up with a new twist to make it worthwhile for everyone involved.

What's been your best street art experience or best event you've attended? Finder's Keepers 2004 in Barcelona was a highlight. 30 or 40 artists from around Europe found their way to Barcelona, we all found objects in the street and painted them, then met in a prearranged place and hung our art on the street. After a few beers in the sunshine D*Face gave the signal and anyone could grab a bit of art to take home. It was an great trip to the home of European street art. Anyone who love street art has to get to Barcelona, even though they're clamping down on it, there's still so much quality work there. Apart from that I was really honoured to be part of the Wooster collectives first group show The Hollywood remix. 10 days in NYC with street artists like Mysterious Al, The London Police. Michael Defeo, WK interact and Galo was amazing. I know that you are also a discerning collector of street art. What's your favourite piece and why? I'm not a great one for favourites as I change my mind so often, but a piece by Faile that I found in a doorway in London ranks up there. It's a page torn out of a book screen printed with their iconic German Shepard. It was one of the first pieces I got and it's so torn and battered it's the essence of street art to me. What advice would you give to anyone who's interested in entering the world of street art? Get out there and experiment as much as you can. If you sit at home thinking about it too much nothing will get done. Make lots of mistakes and learn from them. Like so many, I started doing work similar to the artists I really loved, but after several months my own style started to emerge. So have a bit of faith in your own creativity, all you can do is fuck up, and that's often better than much of the art we see in galleries today. It can take guts to express yourself, but when you put up that first piece that you've poured your heart into, the buzz is intense. What do you have planned for the future? I want to concentrate on the photographic side of my work for a while. Taking and manipulating the images and then painting them onto found objects. I'm really excited by this technique and it gives me a chance to go out and take lots of pictures which has always been a passion of mine. That and some well deserved travel around Europe wouldn't hurt!

This page. Dolls head in Dublin. Next page. Asbestos & D*Face at The Ice Hotel, Sweden for forthcoming book ‘The Goddess Guide’.

This page (Clockwise from top left). ‘Pissing Pony’, ‘Dolls heads’ in Dublin, ‘Coffins’ & Lost sticker.

This page (Left to right). Asbestos for Wooster Collective (NYC) show, ‘Girafuck’ album cover & ‘Dolls 9 x NYC’.

Conor Harrington.

Conor Harrington.

Hailing from Cork but now based in London, I first saw Conor’s work on the cover and featured heavily in a Graphotism magazine I picked up in Tower Records here in Dublin. To say that Conor is talented is to understate in the extreme, gifted comes closer but still is nowhere near. His compositions are engaging familiar depictions of those close to him rendered to a level of detail which is simply awe-inspiring. Yet, it’s not until you see the scale of the final pieces that you understand the talent of Conor, some pieces end up the size of walls rather than small canvases. Traditionally trained at Limerick School of Art & Design, Conor always knew how he wanted to paint, it was just a matter of finding out how to do it. Even in his youth he was obsessed with grafitti and the culture that surrounded it. He would often experiment with tag styles and techniques learned through books he would have to try so hard to get his hands on, you’re talking Ireland many moons ago which was a very different place indeed. During college though he honed his skills and mastered his style and everything fell into place. A few years out and the testament to this passion stands firm, he’s been featured in the forementioned Graphotism, received much critical acclaim from his peers and also had his own one man exhibition in London’s StolenSpace gallery organised by none other than D*Face himself. Next in was Barry McGee so you can understand the level of talent he’s now on par with. Amongst all this though, Conor remains a lovely gentle person, passionate in his work and his beliefs but not in his tone. Rather than opting to say anything forceful or belittle anyone else, he just gets on with it and let’s his work speak for him. Text by Richard Seabrooke / Interview by Asbestos.

Previous page. ‘Graham in chalk’ 2005. This page. ‘Turn up the silence’ 2005. As featured on the cover of Graphotism magazine.

1.Can you fill me in on your background as a graffiti artist and how you got into the game? I saw my first piece in National Geographic magazine when I was 12. I didn't know what it was, but whatever it was, I wanted to do it. I did my first piece two years later in 94. There was no scene in Cork at the time, although there were taggers before me, but in many ways I feel self taught in graffiti terms. 2. Do you have any formal art training? Yip. Four years at Limerick School Of Art And Design where I studied painting. 3. Has it been a help or a hindrance? Definitely a help although it took me a while to realise it. I believe that if you want to develop as an artist, it is vital to understand the general context of visual culture. Whether we like it or not, graffiti and street art have strong roots in the history of art, and I think this is something that should be celebrated instead of ignored, which is often the case. 4. You use both oil and spray paint in your paintings, how did you develop this technique and are there any other artists doing this? I'm not sure about any other artists, but I doubt I am the only one. 'Other artists' are an unknown quantity, there could be thousands out there doing what I am doing only much better. I started using both aerosol and oils at art college. At the beginning I was trying to balance two streams of work. My college work and my graffiti, so it was only natural to bring them together. At first both mediums seemed culturally opposed to each other, but they actually really compliment each other as they are both oil based mediums. They have differing components though , spray paint dries in a few minutes, oils dries in a few days, which makes my painting process more challenging and fun. 5. What's your favourite brand of spray paint? Possibly Belton or Montana Gold. I used to love Hycote although the shops in Cork sold it at twice the price as the Dublin shops. They are so small and perfect for sly tags. I hadn't used Carplan since I first started, but recently picked up a can of black. You get such a crap line out of it, all wobbly, fuzzy and inconsistent. Nothing like the precision of today's products. But I am now realizing that todays paint lacks personality, so bring on the bad paint! Not bad meaning bad but bad meaning good. A bit like vinyl really.

6. How do you feel the traditional graffiti scene and the new street art movement compares? I think that the graffiti scene really needed the street artists to come along and shake things up a little. Graffiti was getting too anal with its drive for technical perfection. Street art is in many ways the antithesis to graffiti. Instead of painstakingly rendering a piece for a few days, you can run around with a stencil or posters and achieve an accomplished result in minutes. I personally think street art is a lot more interesting and progressive. Graffiti is tied to its New York roots with too few people straying to the left while street art on the other hand is young, enthusiastic and not afraid to experiment. Street Art has the scope and the intention to do anything. And thankfully , there are groups where each camp seems to influences the other. 7. Do you still work on the street or has your work migrated to the studio completely? Pretty much in the studio completely. My work demands a lot of attention. Its been about 6 months since I painted a wall, but hope to get out again in the next few weeks. Its been intense in the studio with the run up to my show so I'm suffering from studio fever. My walls and canvases used to progress together but now my walls have definitely fallen behind. I need to put work up on the street but I feel I need to find the right medium to complement my studio work. I'm also doing way too much thinking. Time for action. 8. Could you tell me a bit more about your decision to move to London and how has this changed the way you approach your art? The path from Ireland to London is a well worn road at this stage, especially for creative people. London has the means to get me where I want to be. Cork doesn't. I also love huge cities, and find them inspiring places to make work. Cork isn't the biggest city in the world, although we in the south see it as the centre of the universe. The east end of London has the highest concentration of artists in the world. A scary fact when you live there but it certainly makes you raise your game. It has been a humbling experience sharing the streets with artists who can kick your ass on canvas. >>

This page. ‘Bored of the ice’ self portrait, 2006.

Left. ‘The rum and raisin of society, part 2’ 2005. Right. ‘Of misfits and kings’ 2006.

Left to right. ‘Things could get bumpy’ 2005, ‘A prince without a crown’ 2005 & ‘The Son also rises’ 2005.

9. How have you found the art community in London? Have any other artists inspired you in London? The art community in London is so broad that it is hard to get a sense of it. There haven't really been any artists in particular that have inspired me but it can be overwhelming when you visit so many galleries and see so many great shows, from the blockbusters at the Tate to the smaller independent galleries in the east end. 10. Tell me a bit about your inspiration, who has influenced your art? My influences are changing as I get older. It used to be all the obvious New York writers but I am definitely looking at more fine artists in the last few years. From the high renaissance through abstract expressionism to contemporaries like Gerhard Richter and Jenny Saville. I listen to a lot of jazz and hiphop and have recently read all of the works of David Mitchell and Haruki Murakami. Murakami in particular has been a massive influence with his individualist tales from a young males perspective. 11. Can you tell me about the subject of your paintings. Who is the figure that populates many of your paintings? I painted Barry for quite a while, although I don't paint him so much anymore. He is a good friend and was in my class in college. I abandoned letter writing a few years ago but wanted to hold on to some of the elements of graffiti like fame and repetition, repeating an image any number of times. A tag is essentially an identity so I wanted to represent that in its literal sense, tagging with an identity instead of a name. Barry was perfect. The male figure has always played a major role in art, as Michelangelo believed that the figure was Gods way of representing Divinity on earth. There has also been a strong tradition of characters in graffiti, so in a way, I wanted to develop on the tradition of the bboy character, while focusing on the masculine dominance of urban culture. I painted Barry exclusively for my first solo show in Cork, but my recent show here in London featured a few more friends.

12. These subjects in your paintings are all male and seem to be lost in thought. What are these characters saying, what are they thinking? Knowing Barry he was probably just wishing I would hurry up and stop taking photographs of him. But otherwise I like the stillness of my subjects. I never ask them to do anything or look in any particular way. I just paint them as they are. The interpretation comes as I break the figure down with the abstract textured parts that seep through the oil work. This is where the spray paint plays its part. I like this juxtaposition, playing with contrasts, oil and aerosol, figuration and abstraction and chaos and control. 13. If you were going to be executed in the morning for tagging Buckingham Palace, what would your last meal be? It would have to be the fry my mum cooks me whenever I come home - 5 clonakilty sausages, 3 clonakilty rashers, beans, 2 soft fried eggs and 2 slices of my mums brown bread. All washed down with the strongest cup of Barrys Tea. But as it would be my last meal, hopefully, to honour my Candy feature, the Lord Mayer of Cork would give me the freedom of the city so I could then drink the Murphy's brewery dry of every last drop of there superior stout. Wouldn't feel a thing then. 14. Finally what are your plans for ( the rest of ) 2006 and is this year gonna rock or not! I need to get my ass back in the studio and start work on my next show, and I might even get something up on the street. Planning a quick painting session in Andalusia with Dex during the summer. Hopefully we'll leave our mark on Malaga, Grenada and Seville. And I'll be back in the rebel city in July for more superior stout and bacon. Tough life this.

Right. ‘Everyday I wake up and think of my building’ 2006.

Left to right. ‘The emperors new clothes’ 2006. ‘Chess lessons from the grandmaster’ 2006.

Left to right. ‘Dreams of cheap lipstick and turkish delight’ 2006. ‘A seating plan to soothe the male ego’ 2005.



James Jarvis.

Since James Jarvis started illustrating for The Face magazine back in the early 90’s I’ve followed his career with great interest and a lot of respect. From his monthly interpretations of youth culture through his involvement with the likes of companies like Holmes, Silas, Amos, Heroin, IDN, The Idler, etc. his output has been immense and his resonance reaches worldwide, something I believe he may not fully understand until many moons into the future. Famed, along with the guys at Silas, as one of the pioneers of the current designer toy craze aswell as bringing character based illustration bang up to date and relevant to the fashion world, James walks a very tight line between creativity and commerciality, and does so in his stride. He is constantly at the cutting edge of our culture and the many facets of which we consume, he’s never shy to put his toe into the water first, more so he dives right in, probably helps that he’s a fitness fanatic.

This year sees himself and his Amos business partner Russell Waterman take on one of the biggest projects of their careers. This comes in the shape of ‘Vortigern’s Machine’, a lavish comic book done in much the same vane of some of the greats like TinTin and Asterix. Supporting the tome also comes some of the most original vinyl toys ever created, packed full of personality and delivered with the inimitable quality we’ve come to expect from Amos over the years. Recently we got the chance to have a chinwag with James to see what they wanted to achieve out of the project which can best be described as a labour of love. To find out what he said, best you read on. Somebody get the lights there, the feature’s about to begin... Text and interview by Richard Seabrooke.

This page. Illustration from Vortigern’s Machine. Available through

01. Did you know you were going to be an illustrator when you were growing up? If so, how so? If not, what did you think you'd be and dream about being? I never imagined doing anything else... I loved drawing, and was completely obsessed by it from a very early age. I never really thought about anything else. Growing up with Richard Scarry, Tintin and Lucky Luke I always imagined that I would try and do something like them. For a while my main ambition was to draw Judge Dredd. I briefly thought I would like to be a Lego designer when I was about eight. In 1980 I wanted to be Steve Ovett or Sebastien Coe. 02. Where do you get the inspiration for your characters? The world around us... pop culture, literature, politics, philosophy... 03. Rather than just creating characters as individual pieces you seem to ensure they all have a story, a history, an environment. Why do you feel it's important for both the character and the viewer to have these as part of the creation? Without these backgrounds the character can't come to life. It will have nothing to say. 04. Who, what and where inspires you? Who: Said Aouita, Jane Austen, Dick Bruna, Gustave Doré, Haile Gebrselassie, BeHergé, Michel Houellebecq, Goscinny, Theodor Kittelsen, Paul Klee, El Lissitsky, Cormac McCarthy, Mike McMahon, Morris, William Morris, Josef Müller-Brockman, Gary Panter, Alexander Rodchenko, Richard Scarry, Jan Tschichold, John Updike. What: running, car parks, big rocks, Easter Island, bicycles, mountains. Where: London, Northumberland, Kent, Las Alpujarras, California, Tasmania, Mont Ventoux, altitude.

Top to bottom. James Jarvis for The Face magazine, 2002 (RIP). Illustrations from Vortigern’s Machine.

05. 'Vortigern's Machine' is your latest and most ambitious foray into print supported by what I believe are your strongest vinyl characters so far, can you give us an overview of it? My earlier attempts at narrative were very self-indulgent. They contained lots of obscure or difficult cultural references - modernist typography and totalitarianism for example. Vortigern's Machine is an attempt to tell a story that is much more universal in its appeal. The narrative is very much in the tradition of Alice in Wonderland or Mr. Ben. Two young friends wander wander suburban streets and consider the world around them. They visit their friend Mr. Vortigern looking for the answer to one of life's conundrums. In answer to their question he shows them a slide in his magical slide machine. They step into the picture, enter another world and through their adventure therein they find an answer. They return to their own world enlightened. In the first bit of the book the boys navigate the mean streets of Dullwich City, encounter local bad boys Harvey and Jubs and icecream salesman Mr. Spoons. A mishap in their local park leads them to seek guidance from their venerable friend Mr. Vortigern, who shows them a slide on his magical slide machine. Through this image they enter a magical world and embark on a long and tedious quest to find the Great Sage of Wisdom. The whole concept of VM is that you can tell all kinds of stories using the same underlying narrative framework. We have already started on the next adventure, which will feature space, Lizard Men and conspiracy theories. >>

06. What do you think it is about your products and limited edition products in general that seems to have grabbed the collective conscience. When you were producing your first 'Hail Satan Martin' piece (limited to 666 pieces only) back in 1998 did you have a sense of the wave of interest in all things exclusive that was to happen as soon as you dropped it? What do you think it is about exclusivity that seems to have struck a chord? I was never interested in 'Limited Edition' products. I don't think being a 'Limited Edition' makes something particularly special. Everything manufactured is limited in its production anyway. We limited the number of Martins we made because we had no idea if anyone would be interested in him. I was drawn to cartoons in the first place because they were an incredibly accessible branch of art. Why limit the reach of ones art? 07. Have you any plans to bring any of your characters from either World of Pain, In-Crowd or Vortigern's machine to life in the future? I have a vision of the Policeman starring in a silent cartoon, walking about a modernist city dispensing wisdom and discipline wherever he goes... Russell and I created Vortigern's with the specific idea of thinking up something that could be turned into an animation. 08. As well as your own work and the work you do through Amos you also are involved with a wide range of progressive organisations worldwide including Relax magazine (Japan), Heroin Skateboards (UK) and many other publications. How does working for these people differ from your day-to-day, if at all? When I left college I saw myself as an illustrator for hire, and that is how I initially got work. But because the content of my drawings was so character-driven, the illustrations seemed to take on a life of their own. I started to imagine that my characters appeared in commissioned illustrations like they were actors doing an advert. Outside of the illustration I started to imagine what kind of lives they would lead. 09. Any obsessions or impulsions you'd like to share... Running. I have got really into running. I train by running to and from the studio (5 miles each way). I have recently added an alternative 14 mile route to work (then I don't run home again). I try and do one 20miler once a month. You really need to get the miles in if you want to run good times. I did my first marathon last autumn and came 5th. I think if I hadn't wasted my youth drawing silly pictures I could have been a contender. 10. The future for James Jarvis consists of... ...moving to the mountains and carving monolithic potato-heads out of rock.

Previous page (top to bottom). In-Crowd toy sets : Zombies, Forever Sensible Motorcycle Club, Ages of Rock & House of Horror. This page. Various preparatory illustrations for Vortigern’s Machine.

This page (left top to bottom). In-Crowd toy sets : Punk is not dead, The Old Guard, Young Ruffians & Magical Plastic Band. Right. The Thin Blue Line. Next page. Illustration.

Top left. 2006 Amos / Nike / Sillything Leon figure, a larger updated version of the Sony ‘Juvenile Deliquents’ capsule collection done in 2002. These were made available in all the original colourways used for the first Silas Martin toy from 1998. Top right: In Crowd Wrestling Federation toy set. Everywhere else: Illustrations from Vortigern’s Machine.

Clockwise from left. The legendary Silas World of Pain set: Martin Red colourway, Lars Black, Tattoo Me Keith red colourway, Bearded Prophet pink colourway, Policeman orange colourway, Lars white & Evil Martin and Bubba black colourway.

Top left to right. 4 Various James Jarvis illustrations, Illustration for Silas (far right). Bottom. Vortigern’s Machine illustration.

This page: King Ken colourways. Right: Original Grey. Top middle: Orange & chase albino. Bottom middle: Black and Brown flock versions. Right: Clutter Magazine exclusive pink version. More information at

This page (clockwise from top left). ‘Revolver’ cover re-interpretation. ‘Live from Antarctica’ boards for Heroin Skateboards. Illustration for The Idler. Character design for Toto. Illustration for IDN. ‘World of Pain’ comic cover. ‘Live from Antarctica’ poster for Heroin Skateboards. Silas Martin Kubricks. Heroin skateboard.

This page: Vortigern’s Machine toys: Mr. Vortigern (2 colourways), Rusty & Dworkin, Tribesman, Harvey & Jubbs & Mr. Waverley.




the:obsessives -

>> Some ideas come to people luckily during the day on the bus to work, some ideas come to people at night on the bus to their girlfriends or boyfriends, or even coming back from anywhere, something might strike you! "How many people are sneezing right now?"

Some of us can't think because we have too many ideas, not enough space or shelving to store them, no room even under the bed beside the shoes or the large box of photos. Some of us find it hard to have any ideas at all, that's possibly the hardest one.

But imagine say if you get that one lovely idea that outdid all the other ideas ever, you transform instantly on the spot into either a frog, a spade, or even luckier, a helicopter. In a little apartment on the Southside of Dublin is a lady who makes us become a spade, a frog, or a helicopter, on the spot.

Emma Haslam collects these little turns in abundance. Doodles and doodles of abundance, years and years of asking politely "Could you possibly draw me a helicopter... or maybe a spade... or what about a frog.." Books and books piled high of small drawings made by piles and piles of people from everywhere and anywhere. That's not all there's words too...words and words all in lines and lines all the way home. It's all communication and we think she's sending messages to the world, its all communication to us, little messages of well being in a very extraordinary way simply done to try reach us in an unusual way. It could be a code for love or regard.. A simple message to you in a mad world gone even more crazy, The most interesting idea?... 1. We believe there’s only drawings of helicopters is this true? How many? I have been collecting drawings of Helicopters and SPADES and PLUGS too, and for a certain time, FROGS as well (as you do). They are in thirty-something little books filled over six years. I have no idea how many there actually are but if there are about 50 in each book there’d be over 1500 of them… which is ludicrous really. There’s all sorts of other stuff in the notebooks. I wrote backwards to make the pictures stand out more and there are hundreds of drawn words and phrases which came from everywhere and stayed in their original fonts. Handmade appropriation. It was a pastime. And I had all the time in the world.

2. What was the first? And at that point did you think I’m going on a journey, I need to do this collection… Well, there are a million beginnings for anything. A hundred years ago, when I was in art college in Brighton, I made a lot of work based on other peoples drawings: doodles stolen from conference tables, Pictionary pictures drawn by illustratorsI’ve even got one notebook with helicopters drawn in it but I can’t remember exactly who and I painted all over it, but this collection as I see it, started really soon after the millennium when I started working in an art gallery. One day I heard a little kid say, “Its like Manhattan or New York”, he was looking down at an artwork called ‘Grave Blanket’ by Kathy Prendergast, a babies blanket full of little marble chippings. (It’s on show again now in the Douglas Hyde). It seems a bit eerie in hindsight but drawing a few skyscrapers right then with a couple of them being squashed by a giant shoe, was just a thing to do. The drawing was terrible but the main thing was that I decided to draw a couple of helicopters- my first as far as I know, and I think I was a little confused about how they work at the back, so a minute later I asked my friend Niamh Jackman (she’s a book artist) if she could draw one, and she did, beautifully. The next ones were drawn by people in my house and soon after I was sitting in this long narrow room with loads of people at a work party in the pub and everybody did it and the drawings were brilliant. It was a bizarre and friendly little challenge but it was funny and it really took off after that. The spades came in next. Some people wanted to draw more than one thing.

I’d been thinking about spades- Can you call a spade a spade? (even if it’s a drawing)- will it be a card suit or a digging implement and does anybody at all know the difference between a spade and a shovel anymore? Actually the first spade drawings were done by my old housemates from Mayo (who were sure they did) before I began to actively collect helicopters. I had a little plan when I started to collect the plugs. I work in a beautiful building, and this sounds surreal but the courtyard once contained loads of anthropomorphic plug sockets. They really looked like little people with arms and legs. I photographed them all before they were taken away. Their faces were like bathplugs on chains which masked electrical plug sockets. I wanted to print a little fold out book with the photos on one side and drawings of plugs by people based in the building on the other. I made a haims of the photos though which came back with the wrong date printed all over them so thinking I’d doctor them one day and being the technophobe I am, I left the book on the very long finger and continued to ask all sorts of people the same question: “ Will you draw me a helicopter a spade or a plug?” I also collected drawings of frogs for a good while leading up to the Bloomsday centenary. James Joyce is great. I remembered, having read Ulysses a few years before, Molly Bloom having once had an ‘elephant-gre dress’ with ‘braided frogs’ , she wore it on a picnic, it fitted her like a glove and they were ‘happy then’. Frogs are actually a fastening system, like buttons, but my frogs were machine embroidered onto the elephant grey dress I made to wear on Bloomsday. >>

3. Which are the most interesting of your collection and why? They are all interesting to me. Many people drew all three, or all four things. People combined the objects in interesting ways and I’ve got some great hybrids, like Bern Roche Farrelly’s plug helicopter. One of the first things I noticed is that most people draw helicopters facing left, some have drivers, some don’t, some of the more spectacular ones are isometric. There is an outstanding one by Mike McCarthy, an art student with a photographic memory. He even drew it very quickly because I was in a hurry. An ex soldier drew a Chinook, and I met the artist who had just done a commissioned painting for the gardai of ‘Spooky’ , the police helicopter, so he did a detailed drawing. The artist Brian McGuire drew one shining a light on a corpse after a previous painting of his and the amazing Nevan Lahart drew one “with tits”. One day Joby Hickey came over to draw a sketch for me of the helicopter painting he was making and he had absolutely no idea I collected them so that was fabulously random! I think he normally paints planes. I acquired a shocking amount of shovels on my quest for a spade. John O’Donoghue, the Minister for Arts, Sports and Tourism drew one but had the good sense to notice his little mistake. Mickey Harte drew a lovely ‘turf spade’. Later he said he mentioned it in a radio interview when asked about the strangest things he was asked to do since he got famous. My boss drew a good spade, digger and card suit in one, and Padraic Moore, now the Defastenist Minister for Propaganda and Attire, did some very ornate card spades embellishing beautiful words. There are some bath/sink plugs, but mainly the electrical kind. There are electricians plugs , a plug for a gig, and plugs from different countries. A couple of people drew the cartoon character. The frog drawings are quite funny because so many of them aren’t recognisable. I remember Declan O’Rourke’s being impressively frog like though. Paul Noonan drew a cute little one which said, “I’m a frog, I grew up in nuclear effluent”. The Defastenisr David McDermott drew the frog clasp on Bloomsday.

4. Any Heroes of yours done drawings for you? My real hero is Marcel Duchamp. He wrote, “ M.E.T.R.O.” . It translates as ‘Love your heroes’ when you pronounce the letters in French. I have never met him, he’s dead, but he seems to have just about everything covered. I think he once cast plugs to make medals for an art prize, one of his works was a readymade snow shovel hung from the ceiling, (looks just like a spade) and his masterpiece, ‘The Large Glass’ or in French ‘The Bride Stripped Bare by her Bachelors, even’ was left definitively unfinished but in the notes, which are part of the work and the key to deciphering it, there’s a drawing of this spring- a helico thing- a helicopter like thing. The thing that never went in. Anyway back on earth and back to the question, I suppose the musicians are the closest thing to heroes for me and we’re really blessed here in Dublin to have so many bloody good ones, to kill us softly. I have some fine drawings by Mundy, Damien Rice, Lisa Hannigan, Vivienne Long, Shane and Tomo, Roesy, Rodrigo, Declan O’Rourke, Tadgh Cooke, Pauline Scanlon, Steve Wall, Kathy Davie, Si Schroeder, Glen Hansard, the boys from the Guggenheim Grotto and some of BellX1 and the Maladies, and more outside Dublin. Great music. 5. Do you think your collection is a little strange? Maybe your collection reflects who you are would you agree or disagree? It is perfectly bizarre and I suppose that’s why it worked. Doesn’t everything reflect who you are? I’m sure I’m no more like a helicopter than the next person! I suppose it reflects who the people in this city now are to some extent too. Your question reminds me of something I drew in one of the notebooks. It had been drawn inside a second hand book I found somewhere and I copied it and its author is anonymous. There is a picture of a rabbit like creature in long grass and the words ‘Who are you?’ and ‘I am the stranger of the grass’ it might have said ‘grouse’ though, it was a bit ambiguous…

May Contain Nuts. Blogs:

Simplicity is the key for May Contain Nuts, the work of cartoonist Adrian Duncan, a Scotsman now residing here slap bang in the middle of Dublin. While cartoonists may have been the focus of much bad press (wouldn't like to be those Danish guys), Adrian is one guy with an original a take on the modern cartoon unlike anything we'd seen in ages. Very lo-fi but never empty his work says enough to engage the viewer but doesn’t care for complicating the message by adding additional elements. Sure you laugh at it the first time you read it but it's the same as a Larson cartoon in that you laugh about it again later on, the idea at the heart staying with you, ready to pounce on you at any given moment. Set your faces to fun... Text and interview by Richard Seabrooke.

01. How long have you been an illustrator? Did you always know you were going to be one? If so, how come? If not, what did you want to be. I've been a cartoonist / illustrator for just over 2 years now. Illustrating was not something I ever countenanced before, it was borne out of 2 years of intense boredom endured whilst living on my own in Dundalk. Previously, I had always been interested in writing scripts (plays and short comedies), but I didn't have the discipline or sustained intelligence to see anything through to a worthwhile conclusion. So when I started drawing, I found the immediacy and economy appealing.

02. Define your style and approach? My style I would describe as stark and simple, I try to express the situation/idea/emotion as simply as possible. I don't adorn my ideas with too many excess strokes. My approach towards cartooning is pretty much dependant on how I'm feeling, so there is an element of catharsis in them. I am very interested in creating empathy with the reader. I reckon some readers will be upbeat, happy, some will be sad and others simply broken hearted, I want to be of interest and hopefully even of some tiny comfort to those, a small show of solidarity for the unhappy perhaps. However when I am producing commercially I feel I have to check the emotional side at times.

03. Who, what and where inspires you? I think Steve Bell and Martin Rowson are really good, from a current political cartooning point of view. My favourites outside of the current political scene are Sempe, Ronald Searle, (his elegance is amazing) and Mario Armengol. I also really enjoy Chris Ware's and Daniel Clowe's stuff. Calvin & Hobbes I remember loving too, very gentle! Current favourites are the Perry Bible Fellowship & David Shrigley. 'Inspiration' tends to strike at any time, in bed, walking down the street, reading and listening to people ‌ it is about constantly keeping yourself open I s'pose.

04. What do you think are the most important things to remember when doing an illustration, cartoon or animation? What guides you through? I would say, for me, when the angle of view of the piece is visualised, stick with it. Aside from the visual, when the joke of the cartoon or the “punch line� (or absence of) in the animation hits me first and I find it funny, moving, whatever, it is important that I stick with it to the end, even, if after a few hours of work it seems less so. I recall my initial reaction. If, in the end it doesn't work, it can be used again in a melange idea with something else, nothing's a waste of time.

05. Working independently, how do you ensure your work continues to evolve and challenge? To ensure that I don't stagnate, I like to review my work every couple months or so. I ask certain friends for their opinions too, when a piece is finished. Trying new things (techniques, angles and materials) is also a fool proof way of challenging yourself technically. However, I am slow to embrace different materials, the raw expression of the idea/emotion/joke is still what interests me most, the form of the expression, the adornments are secondary to me, for now, but I'm sure my attitude will morph in time! Interaction is essential (and very enjoyable) when trying to change or re-consider my approach. I also find inspiration from viewing other people's work, that always triggers something in me. Of late music has had an effect on the attitude of a piece that I hadn't noticed before in this way, very embryonic at this stage but I certainly won't close off to it. I gormandise at the table of ideas of others, it's a very lupine existence as I feel I give little back!

06. Working for publications all over the world you must deal with a wide breadth of people types. What do you look for in a prospective client before you work for them? Generally publications that aren't over specific with their requirements for illustrations or cartoons. I like to be given a certain amount of freedom with the style and the content. 07. Again, due to working internationally and there being cultural differences, do you sometimes come up with brilliant hilarious work that goes down a storm in one place yet falls flat in another place. How do you allow for this? This is definitely something that would have to be considered when sorting potential ideas. The cartooning work up until now has been solely for publications in GB & I, as such, I find the sense of humour is accessible and relatively familiar, so I've not had to censor or curtail myself too much. The illustration work has mostly been as accompaniments to an article so I tend to go for a relatively obvious theme there. Thus, it would be quite hard for an illustration for a particular piece to be abstruse, no matter what part of the world it eventually gets published in.

08. As well as your commercial work, you also do a lot of self initiated projects including cartoon series, tees and animation. Why do you feel these are important to you? Also, care to explain 'Gravy Brain' to us, I'm intrigued! The tees are a very recent development. A few months ago I printed some of the “gravy brain” designs on some t-shirts and I thought they were understated and looked really well! It is kind of a tentative “stealth” marketing ploy, I will give them to friends as “gifts” and after a few months I'll ask them for any feed back, if there is interest then I'll pursue that avenue, if not, then I'll keep putting some together for anyone that asks! The animations are something that came out of a conversation I had with some friends in Edinburgh. I decided to make a trilogy of shorts (1-2 minutes) on loneliness. 2 of the shorts were based upon some cartoons I did for the Scotsman a year ago, the third is being put together now. I collaborate with a computer 'whiz' friend of mine called Colin Gateley, We are on the same wave-length with these, so its great fun. Gravy Brains, these are self indulgent little things, some work well, some work very well! The crux is that when an idea happens along, I scribble it down. I never “tip-ex!” or touch up, they stay naïve looking and very immediate. I quite like the spare look to them. For the other more detailed cartoons, there was a longer draughting process, wherein different slants on the joke can evolve in the presentation. The immediacy of the gravy brains removes this potential to evolve, so you get the uncluttered ore of an initial joke/situation/emotion/idea only, which interests me, from the point of view of the construction of these and, more so, other pieces.

09. Any big things happening for you soon that you'd like to share. Any plans to publish your work? I am very, very poor at the whole promotional side of things. I was advised to get an agent (my stomach hurts at the thought!) by a friend at the BBC, but I never got around to it, which speaks volumes. That said, the first, (and hopefully the other 2) animations are to be screened by in Edinburgh this year. I also hope for a screening in Dublin, we'll see. I am in the process of moving from Edinburgh to Dublin now, so once I get sorted, I will be making an anabasis on the newspapers and magazines there for more cartooning and illustration work. I have started work on a set of strips (non-continuous or inter-related), that I hope to get published this year too. 10. Any obsessions or impulsions you'd like to share? Obsessions : hmm, Men that pluck their eyebrows. I am utterly compelled, to the point of ostensive rudeness, to stare at them. I, for the most part, have no problems with metro-sexuality in general, however I don't believe any male brow can be deemed sufficiently hirsute too warrant a plucking …. Impulsions : issuing (screaming) invective at (bad) television adverts, particularly at the struggling actors whom, for an utterly irrational reason (impulsion!?), I feel are partially at fault for this blight on humanity. I feel personally affronted! Totally unfair, I know, but, there you go!


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WHAT IS IT: The lost property office where anything that gets lost on the tube, london bus, or taxis ends up if it is handed in.

I’d wanted to get into the lost property offices at Baker Street for ages. Everything that gets lost on the Underground gets sent there and staff log it and label it and look after it until you go and claim it back. They don’t have a phone number, so I wrote and faxed and emailed to try get permission to go and photograph there. Summer came and went and I’d pretty much scrapped the idea. Then I got a call out of the blue inviting me to go down. I borrowed a 6 by 7 camera and some studio lights and the next day I was on the train.

One of the weirdest items I photographed was a wedding dress - it was just hanging there next to the artists portfolios. In a way it’s the saddest of the pictures; I really wanted to know the story. Did someone get cold feet?

LOCATION: Underneath baker street tube station, london. - - - - - - - - - - - - - - - - - - - - - - - - FACTS: - - - - - - - - - - - - - - - - - - - - - - - - Over two thirds of the stuff that gets handed in there ends up back with their original owner, the staff take great pride in this, and rightly so, it’s amazing! There is no direct phone number for the lost property office. You’ve have to go there in person. Everything that gets lost is stored carefully in this numerical system where by each item is labelled with the date it was handed in and the tube station / bus line it was found

I arrived at Baker Street at 9AM and already the staff were down there, sorting stuff. They showed me some of the rooms. There’s a whole room for umbrellas - they’re the most frequently lost item, so there’s thousands of them, all different colours. In the dolls room, I could just imagine little girls bawling their eyes out when they realised they’d lost their favourite dolly.

If the item isn’t picked up within 3 months it is given to charity or sold off in bulk to markets.

There’s a mobile phone room, of course, and that’s organised really clinically. You can hear phones and alarm clocks going off the whole time, usually from inside suitcases. After an hour or two, you feel like you’re losing your mind. The scale of the place is extraordinary. It’s so far underground that it smells a bit damp and musty, like an old cellar. What’s most amazing about it is that two thirds of the stuff ends up back with its original owner; the staff really take pride in this.

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But my favourite picture of all has to be the teeth - it’s just so gruesome. I’m not sure how someone loses their teeth but I know when my granny falls asleep, her teeth can slip out. When the pensioners come to claim them, the only way they can know for sure they’ve found their teeth is by trying them on. I suppose it’s their Cinderella moment.

richard gilligan,

may 2006.

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MuteGrab is the name given over to the output of Jonathan Parsons, an exceptional independent creative who decided he'd had enough of Dublin city life and escaped to the countryside of Cork where he now lives with his young family. When previously in Dublin he carved his own path through working at ImageNow, developing relationships with some our leading creative strategists and taking on a wide range of work in every media (motion, print, advertising, yes he's even designed t-shirts!!). Forging his solo career it dawned on him that location was becoming more and more irrelevant to his ability to get work done and delivered. Technology now allowed him to choose the life he wanted but not compromise the ability to produce great ideas lead work and maintain a good living. But hell, don’t take my word for it, let’s go get a quarter of the eye candy on offer... Text and interview by Richard Seabrooke.

This page: Various posters.

01. How long has MuteGrab existed? I went solo in 1998, following a series of fulltime positions in Dublin. I suppose the spirit of MuteGrab was there throughout all my full-time employed positions, as i always seemed to have a minor project on the go in the background: be it a Fringe Festival programme, theatre flyer or an experimental music video. Where did you work prior to setting it up? After a start in publishing (InDublin Magazine), Mike Hogan passed me into the care of Pat Kinsley in NeworldDesign, who later 'sold' me to a fledgling Image Now. A few years of late nights and too much partying led me to make the move to a more sober DesignWorks, where the inspirational/ conversational Tom Meenaghan was the gaffer. Tom has since moved on and we still work together on numerous projects. 02. Why did you feel it necessary to go it alone? There were always external projects that provided creative stimulation and challenge, and i guess the draw was too strong! In addition, i had formed a number of 'alliances' with likeminded individuals such as Sebastian Clayton (Digital:CC) which led to self-initiated projects. Besides, you can always go back into employment if things don't work out. (Or can you?!!)

03. Although you were originally based in Dublin you've relocated to Cork. What would you see as the benefits and negatives, if any, of moving away from where it looks like you get most your work? Firstly, it was a move home to West Cork, so the 'risk' was only relative to the business. There were quite a number of influences, namely: we wanted our newborn son, Luc, to benefit from the same rural values we experienced when growing up in West Cork; prohibitive property prices in Dublin spurred us to take the opportunity to build exactly what we wanted (which in itself was a rewarding process); broadband allows for effective workflow between established (and new) clients and colleagues. The only real negative point is that we are further away from some family and friends. Since moving here over two years ago, I have considered accepting job offers in Dublin and New York. I feel lucky to have considered such options, yet chosen to stay here in rural West Cork for now. Having said that, a few years back we took a year out to go traveling, prior to babies and the mortgage! It would have been easy to stay put in Dublin and keep the nose to the grindstone, but we took the leap anyhow. What that demonstrated to us is that it can be all too easy to stay put, not take risks, and therefore miss out on life. Funnily enough, i feel that if we had not taken that trip, we wouldn't have had the courage to take the small step back home to Cork! How do you feel location affects a persons creativity, is it important? I can't say that the luxury of personal space, beautiful scenery and relaxed village life makes for better design, but it certainly makes for a happier me. If that leads to better work, then it's damn important! However, visits to Dublin, London, NYC, etc always stimulate the senses... monotony of any environment will lead to indifference.

Left: Nissan television ad. Right. RTE ‘Health Fix for 06’ titles.

How much did technology influence your move (ie, everyone's only an email away)? It didn't affect the actual decision to move, but has certainly provided for a realistic means of maintaining an international clientbase. I survived 6 months with dialup, but broadband is now my best friend. Clients in Ireland and the UK are unaffected by my rural location. I am continually forming new business relationships that are wholly reliant on the internet as a tool. >>

04. Your work is quite diverse for an independent creative, ranging from motion graphics through print to interactive. Why is it important to you to keep a finger in all these disciplines? I'm not sure if the diversity is deliberate or not.!.. However, I can't imagine being happy working in one field for too long! What is interesting to me, is the cross-pollination of one medium to another: bringing a motion graphics solution to a branding exercise, using hand-made elements in motion graphics, etc.

How do you ensure consistency of quality within your work? I don't know...!.. i suppose some of the benchmarks would be to remain self-critical, and to seek out and deliver the client's true needs, as that is what can make any design successful. Once that goal is reached, and there is room for further expression, then the result can go from being good to great!

05. Within your motion work you seem to really enjoy working with text as image aswell as putting particular emphasis on the pace of the execution. How would you explain your approach to a motion job over say a printed piece? Is it the same process, just different medium or does the alternative technology warrant a different approach?

As with any design project, there is always a message to communicate, so in principle, it is the delivery medium that differs most. The same problem-solving ethic still comes into play, just with a different production structure. The advantage of motion over print, is that there is an opportunity to communicate with more emotive triggers than in print. For a start, the soundtrack (music and FX) can amplify the visual cues; the pace and tone of the piece is therefore more dynamic; and there is the opportunity to form a real narrative. >>

Left to right: ‘Animal Rescue’ titles, Horslps dvd interface, Aslan advertisement, Dustin’s ‘Bling when you’re mingin’’ advertisement & Health Service Exceutive advertisement.

Clockwise from top left. Poster for ‘Idir Dhá Chomhaile’, Brochure for Temple Bar, Dublin, poster for ‘Electronic Improvisation / General Practice’, literature for IDI Design Awards, brochure cover.

06. Your print work is very strong too, what do you see as your creative intent throughout all your work, what do you hope to achieve and realise? I don't think there is a common intent, other than to explore and deliver the most appropriate design solution in response to a given brief. Frequently, i have found that an initial visual response to a brief can be the most succinct. So as a result, i'd say that i listen to my instincts and gut reaction to help the process reach it's conclusion, rather than follow a routine or formula.

07. What do you reckon to the state of Irish creativity today, especially in terms of on the international scene? It's difficult to take stock of such a notion, since my perspective may be totally different to the next person. However, I would imagine that the opportunities in Irish design are greater now than, say, 10 years ago. In the Ireland of today, there is probably a greater awareness of design in everyday life; the Irish design 'consumer' has grown more design-literate. Long may that continue. Recently, there was an interesting point raised on the Creative Ireland web forum (that sadly degenerated into a egotistical rant by the originator). The original point was questioning if there are any Irish design agencies competing on the world stage, at the level expected by global corporate giants (Nike, Ford, etc). I feel there are a few notable exceptions, but in general, are we servicing a client-base that isn't as design-savvy as, say, the UK or the USA..?.. I'm sure there are many great Irish designers out in the global marketplace, but is there enough reason to entice them home (and bring the market with them). Or, are we geographically, technologically or economically bound to the status quo? Is this the right time to mention Candy and take my hat off to your initiative and persistence in showcasing what is great and good in the design cosmos?! >>

Top (left to right). Various ‘Interference’ cd cover designs. Bottom. ‘Passades’ promotional literature.

Various t-shirt designs for Behind The Factory Wall clothing.

This page (left to right): ‘Big Six’ titles for BBC. ‘Dave Fanning’s Fab 50’ advertisement. Inferno intro sequence. Nikon advertisement. BT2 promo animation.

08. Highlights so far... In business - the seizing of opportunities to allow for a diverse work experience (so far!) - the birth (and death!) of ByTheFactoryWall tshirt label with Cuan Hanly (now living and working in NYC). good clean fun, for money. - winning the IDI Grand Prix Award with Inferno (Belfast) for a Motion graphic sequence for BBC Northern Ireland. Totally unexpected and rewarding, despite what we may collectively think of industry awards! - working, living and playing in Dublin in the early 90s... or did i dream it!? In life - the 'stolen' year-off travelling with Caragh. - making babies! my boys, Luc and Sean are my apprentice MacMonkies, and make me laugh every day. 09. Ambitions... - to continue the current life/work balance in order to get the best out of both. - to grow the mograph side of the business and work with more agencies in NYC and the UK. (and not forgetting Dublin, of course) 10. Any obsessions or impulsions you'd like to share? i would say i am more impulsive than obsessive.!.. (at least i hope so!) however, my current obsession is getting my new studio finished here at home... currently it's an empty shell.. still got a bit of plastering, electrics and plumbing to complete, and then the obsessions over the interior finishes will abound. i have a feeling that the result will remain 'organic' for a wee bit...!

Top (left to right): ‘Pygmalion’ poster design. ‘Forbidden City’ promotional. ‘Titus Andronicus’ poster. Bottom. Dublin Theatre Festival promotional brochure.

Paul Seawright.

Born in Belfast 1965, Paul is currently a professor of photography in the University of Wales College, Newport. In 1997 he was awarded the Irish Museum of Modern Art / Glen Dimplex Prize. He is one of the artists selected to represent Wales at the 50th International Venice Biennale of Art 2003, commissioned by the Imperial War Museum to respond to September 11 and he was one of the first artists to go to Afghanistan. Paul Seawright's work continues to examine numerous emotional questions. The work stretches across many places from his hometown of Belfast where in 1997 he documented what he saw religiously, politically and sociologically in an objective way, exploring the themes of exclusion, photos of cages and fences to the Orange Order and in turn the separation of a people, a city and a country, thus raising the question of ‘Why?’. In a photo document of Tallaght, Dublin called 'The Map' he touches on visible and invisible edges of a city meeting the countryside head on and the change from day to night, light and dark. Recently he has been working on 'Oblier' where he explores the boundaries between public and private space in Reggio Emilia, Italy for European Week of Photography held in the same town. Themes of space, peoples habitats, their fears and hopes, their boundaries and limits thread Paul’s work together. Continuously exploring the relationships people have with those spaces and their surroundings and emotional states finding answers and questions. For us the work is simply inspiring in it’s simplicity and atmosphere. Less is more here, whatever's gone can be found somehow in the journey through his images, his version of the world is one in which we might find a place for ourselves. Text and interview by Aidan Kelly.

Previous page. ‘Rocketpile’. This page (left to right): ‘Camp Boundary’, ‘Map’ & ‘Valley’.

1.When and why did you become a photographer as opposed to other disciplines? Photography became a passion at the age of 13 - an art teacher moved to our school from Canada and built a darkroom in the corner. The whole process, particularly the control of every aspect seduced me and I spent the rest of my school years with a camera permanently around my neck. I went to Art College and studied Film & Photography. I enjoyed being a cameraman and shot several 16mm shorts and even worked on graduating as an assistant cameraman at the BBC - although I routinely reference film in my work I was frustrated back then that you couldn't work alone as an independent artist but had to rely on a team of people to achieve your objectives. That is changing with Mini DV etc so I may return to film making at some point. 2. How much do the photographs represent how you personally feel about the situations and spaces you find yourself in, is the work entirely pre-meditated? There is a lot of pre-meditation. In a way its what separates my practice from that of a photojournalist who emphasises his position as an observer or witness reacting and responding to events and situations that they have emerged themselves in. I often share my subject matter and even the site of practice with the editorial photographer, but I will have decided what narrative (if any) I will construct before arriving. It’s a slower way of working and there is an element of surprise in reflexivity but it isn't the primary driver.

This page (top to bottom): ‘Knock’ & ‘Hospital’.

3. It seems you're work is usually simple and spacious, is this a correct assumption and if so has it always been this way? I hate to talk about or confess to a visual style, but certainly I use the restriction of descriptive information in combination with space and simple, even parsimonious framing to stress certain ideas of recurrent themes. I suppose you could understand the visual strategy by contrasting the photo-journalists imperative – to make a photograph that illustrates, summarises, articulates and communicates a position quickly and in one image (consumed with incredible brevity in the magazine or newspaper daily) with my purpose, which is to avoid illustration, to leave questions open ended, even unanswered, and make an image that will be sustainable over time – that will endure multiple viewings and act more as a catalyst for the viewer inquire further ask more questions rather than function as a concise and pragmatic visual text. 4. Do you prefer the simply abstract or the work that references politics? I dislike abstraction and am left fairly cold by a lot of conceptual Duchampian art. I am much more excited by art and artists who use their practice to engage contemporaneous issues and explore in arts typically tangential way subjects that are the domain of mainstream media. >>

This page (left to right): ‘Beach Feet’ & ‘Pylon’.

This page (left to right): ‘Man Sleeping’ & ‘Woman Alleyway’.

5. Have there ever been times you seen a situation you missed because you had no camera? No, because it’s not how I work. That responsive approach is the antithesis of what I do. I have made photographs in situations where the images didn’t live up to the promise of the moment and couldn’t be repeated.

8. Who or what have been strong influences in your life? Photographically Paul Graham – particularly the work he made in Northern Ireland in 1984 ‘Troubled Land’. Really the first time someone had grappled with a radically different approach to visualizing the conflict. He taught me 1985-87 and was central to my early efforts at making work in Belfast.

6. Would you agree that where you hail from influences your work? All of my early work was made in Belfast and there was a time when I couldn’t imagine making work anywhere else. Then I moved away from Ireland and everything changed. The best work has an element of autobiography and many of the themes and issues addressed in the Northern Irish projects are visible in work made in Africa, Afghanistan, France…

9. What was the last photograph you took? I have just finished a commission in Reggio Emilia, Italy for the European Week of Photography. The last picture I made there was of a box in a dark attic in the Mayors office. The project explores the private, forgotten parts of public buildings.

7. Can any of your work's change people's ideas? Maybe – its not what I set out to do – I hope at best that it challenges people to think about and revisit subjects and issues that they already believe they know all they want to know about it. To understand that visual representation of these issues demands a multiplicity of voices – war shouldn’t be covered by reporters only – but by artists, poets, playwrights, community activists – then at the very least we might end up with a representation of that is engaging, rounded and even provocative.

10. Anything on the horizon you're excited about? I am currently collaborating with two Dutch filmmakers and we travel to the Dead Zone around Chernobyl next month to make a documentary about my work.

This page (left to right): ‘Untitled’, Orange Order, Portadown, 1990. ‘Red Hand’, Orange Order, Belfast, 1990.

This page (left to right): ‘Barrier’ & ‘Bell Tower’.

This page (left to right): ‘PB A’ & ‘Houses Night’.

This page (left to right): ‘PB L’ & ‘Tree Waterground’.


Rekal, self portrait.


Hailing from Italy Rekal is one of Candy’s biggest supporters from the early issues. Every time we drop an issue we’d be sure to get an email a couple of days later bothing full of well wishes but also giving sneak peeks into his own output. When planning this issue though we thought we’d return the favour and push him for more information and images of the work he does and boy did he deliver. Delicately detailed Rekal’s work, regardless of the final scale he does it, is beautifully considered and executed to perfection. His compositions tempt you with their bright colours and interesting elements but once you’re there he has you. The lushness of his art has underlying sinister tones and themes which ensure you look deeper and deeper into the work. While not hugely known he has been getting more and more exposure worldwide and we’re sure it’s only a matter of time until he blows up bigtime. You’ve been warned! Text by Richard Seabrooke / Interview by Asbestos.

This page. ‘Butterfly’.

This page. Rekal piece in Venice.

This page. ‘Mothernaturerocks’.

Could you fill me in on how you got started to paint? I've always loved drawing since i was a little boy. I don't know why but i would always be drawing, i'd watch lots of japanese cartoons and then try to draw the characters myself, otherwise i'd draw animals. Some years later, whenever me and my parents were on holiday somewhere and i'd see some graffiti on the walls, i'd have them to take tons of pictures of them. From there the step is easy: i started copying them from the pictures, then i started buying graffiti magazines and check out some of my favourite writers for inspiration until eventually i developed my own style, i started to drop my tags here and there, then bombing, trains, halls of fame, etc.. Later on I got more and more into fine art and started playing about with oil painting and other techniques.

What motivates you to paint? Starting painting was like releasing a huge, uncontrollable force waiting to explode. I didn't know why, but i was always drawing. Then, as i was growing up, i realised i could analyse myself through my paintings and understand a lot about who i was. So drawing became a sort of meditation for me, a constant search for myself and and exploration of the world around me.When i'm drawing, i can spend even five or six hours there, freeing my mind from any thoughts so that i can concentrate on myself and my unconscious. I don't know where this search is going to lead me, and that's exactly what pushes me forward.

Where do you draw your inspiration? I guess my inspiration comes from my own experiences. I love travelling and getting to know different cultures. I'm fascinated by ancient civilisations and their relationship with the divine and with nature, the latter often idealised and deified. I like studying the relationship between human nature and mother nature, dig into the subconscious in order to find out their most hidden roots. And at the same time i still find inspiration in my background, i keep following the 'street' scene and many street artists are still inspirational for me. All these different inputs affect my final pieces of work in a different way. I believe i'm constantly evolving, constantly looking for new inputs, new keys to make mine, to blend into my language.

You paint on the street as well as in the studio, could you tell me how these differ? Well, in the studio i produce more complex pieces of work, using oil paint and other techniques which take up a lot of time and concentration. I can be really precise and meticulous. When i'm street painting, my works are much simpler but, say, much bigger. But honestly, i don't consider them to be two separate things, to me they're two organs in the same body. I would like my work to form a language engaging more senses, creating something that is visually fascinating, but also physically tangible and with a good sound. As well as painting, i work with video media. I've been taking care of the visual installations for an electronic band called ENT for two years. In the future i'd like to be able to unite all these different experiences into a more homogeneous single language. >>

Left to right. ‘Sbriz’, Soul’, ‘Monkey’, ‘Mummia’ & ‘Power’.

Left to right. ‘Mothernaturerocks’ detail, ‘Tonal-Nagual’ & ‘Feel my eyes on you’.

Left to right. ‘Evil-devil’ & ‘Rekal’.

This page. Rekal comic illustrations.

Could you tell me a bit about the technique you use and how you go about doing a piece? Actually, i don't have a favourite technique. I like oil paint, water-based enamels, pastels, Indian ink, markers, spray paint... i often mix all these products working in layers as if i were using Photoshop, valorising the different techniques one by one and highlighting different details and meanings in my work. The result is pretty graphic. You feature apes in a lot of your work, where did the fascination with them come from and why do they appear in your paintings? Well, admittedly i was struck by a particular small statue i saw in the Egyptian sector in the Louvre in Paris... that monkey kept staring at me and i couldn't move away! Lately i tried to work out the reason behind it and i started to use it in my work. Apes are a subject charged with meaning, but, as with everything, i think their interpretation is very subjective. I believe that whenever you look at a painting, or at anything else, what it transmits to you is a projection of your own feelings and ideas mirroring your subconscious. Therefore it would be too complicated to explain what i see in the monkey, and i believe it's much more interesting to ask what you see in it, and why.

What's your favourite colour? It'd be tough to choose a particular one, but different shades of green are between my favourite. If you had one day left to live, what would you do? i'd have a huge party to say goodbye to everyone, i guess... Tell me a bit about your plans for the next year, what will you be up to? Frankly, i don't know! It's better not to have too many plans. As i live on, the fog dissipates and i can see the way to follow. Do you work alone or do you ever collaborate? I usually work on my own, but, as i said, i have been co-working with ENT ( on their live performances for two years. sometimes it happens that i do some work with some other artists too. What would your last meal be if you were going to be executed for being a spy? By all means a pizza with buffalo mozzarella cheese, courgettes and parmesan cheese shavings to go with a Radler (beer+lemon soda)

Do you prepare art in the studio and put it up on the street, or is all your art created in situ? When i paint in the street i usually improvise, but sometimes i add some ideas i worked on in the studio. It all depends on what king of effect i'm trying to obtain, on the size of the work, and on the location. I think it's necessary to have a good idea of the kind of location you're going to use before you start planning a work.

This page. Rekal work in progress.

Left (Top to bottom): ‘Fear’ & ‘Spirit’. Middle: ‘Mothernaturerocks’ detail 2. Right: ‘Death’.

Left to right. ‘Due teste’ & ‘Evil-devil’.



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the:obsessives -

To have had the fortune to meet Dandelion sergeant is to have met someone really worth meeting. Every time is a lovely time, every time I learn something, I know Dandelion well and we've talked and talked until there was no drink left, exercised all the pro's and con's of every situation, every piece of music, art, magazines, old style TV, shoes... people, and though we may not see each other for a little while, like a good friend we always start back where we finished off, as if it was yesterday.

Dandelion Sergeant, from Dublin suburb Tallaght, has lived this life since her teens with no help from anyone, no compromised ideals, no give on anything, she has with a single hand walked the fucking walk and infuriated all those who think they know her along the way.

Brutal honesty, no time for slack, opinions on everything, hard working reclusive and salt of this earth, with indisputable style and a definite class of her own she is a true old school Dublin maverick that has taken a genre we know all too well and simply made it her own.

As a dj she stuck to her style and championed the music she wanted to. Even though she could risk being unfashionable and unemployable, Dandelion has laid down an example of what it takes to be a real individual in such a commercial and stereotypical world.

In Conversation with Dandelion Sergeant.

Aidan Kelly: One of the questions i wanted to ask you was do people not find you unusual? Dandelion Sergeant: Yeah AK - Visually to look at but at the same time you don’t play the game... DS - I don’t know how to play that game anymore that’s why I am where I am in my life. Don’t get me wrong I’m happy with this... it’s brilliant... my favourite thing is to be alone, dress up, go into town and walk around just in my own head, I love that it’s probably when I’m at my best... Y'know I can concentrate all my energies and I know who I am, like the 13- 14 year old girl who found the Mod scene thinking the world was against her... I think I have a big personality which I give to people when i meet them and then the next day they wanna see you again... It’s good luck give all I can give in one day then next it’s panic. [She talks about a new friend who's been texting her a lot and was glad to find out she was doing this interview so she could say they couldn't meet, she's good at being a loner] AK - People just want to talk to you, like your collection do you think people see you as an icon.... DS - I can can count on one hand the amount of people who've been here in this flat, you're here, Jeanette who I’ve known for 15 years and my mate David was here I think one or twice... stayed for hours great fun... and Anto of course... but I just like being on my own. [We talk about her father who didn’t like people in the house and rarely liked the idea of Dandelion’s friends coming around, that’s the way things were, "50's fathers" and then ease onto another glass of Ponsified Rose each, settle the nerves]

AK - So you were livin' in Tallaght ‘early on’ which is not ideal.. DS - Yeah, not really... no buses... standing in the middle of fields having to walk through two housing estates with a beehive hairdo and a green bellbottom suit with silver buttons, they'd knock you down, trip you up in the street till you were on your back, like... no phones just phone boxes i have to walk through two estates to use that phone and they'd kill ye in the phonebox. AK - What started you into being this way of collecting... Was it a Piece of music, a film, a photo, what made you say this is it? DS - It’s really weird... It was clubs, I was 13 when I first started going to clubs. It shouldn’t have been allowed at the time but there was a club in Dublin called 'Bubbles' and I remember that particular Summer was long and there were Mods everywhere, 79 - 81 was a mod revival and my cousin was a Mod and I started seeing this band ‘The Experiment’, do you know Tosh he's in Saville now? Anyway, these guys had on Regency jackets in 1983, it was like being introduced to Mick Jagger. Even though wearing these clothes there was killin’s it was all about the clothes and I had my own style even though I had no money, I used to buy stuff off the women in the Iveagh Markets in the Liberties. AK - So where you creating a sense of identity at this time? DS - It’s when I started drinking actually I used to get my sister to get me cider [laughing], I used to go to beach parties at 13 and 14 and get killed at home for it. So even though all that was happening and tough for me, my dad would buy me the best 60’s stuff, so he was adding to it, like all the best gear that I have came from that man, he had lived through it and had an eye for fashion so he knew. But like Quadrophenia, I don’t care what people say I still love that album I lived that film, it’s my life... Like Pete Townsend it’s a lonely life being a Mod its not about being in a gang. You believe it so much and then people drift off and you've no choice but to be on your own. But being a mod too is about moving on, finding the next great thing, the next great thing... and growing as a person. >>

AK - So you were determined to stick with the Mod sound and became a dj? DS - Yeah... My passion is definitely the Mod thing but there’s no money in it... and I need money to live on so don’t get me wrong I don't have a record I’m not proud of, but I need excitement and when people bring out those Northern Soul and Mod compilations they're shit! The best has been found, I don't think there’s anything else to find. In the 80’s no bands came over because of the IRA but some metal bands did and i went to see them just to get excited about music and that’s full of youth and kids who love that music and i love that, its a life of its own like the mod thing you never have to stop. and you can drop in and out of it get your kicks somewhere else and always come back to it. The English scene for Mods is so brilliant!! AK - Why didn’t you move ? DS - I was so sure i was gonna be the head of the scene here... I was gonna be the General... why should i move? i would overlook everything why not have it [the scene ] here when there's so many faces in London, they said you get swallowed up but i don't think so how could you be lonely in London... everyone knows what you’re on about... at least the friends i made. But scene wise i wanted to stay here... even tough there wasn't much in respect from people till later on... it came very late, most people before i started djing weren't sure how to handle me...they were "What is it you want to do in your life"... it was difficult, i wasn’t selling anything i just wanted to be me and happy being me, what do you do what can you say about yourself if you don't have anything to sell. Like a popstar with no record. Still feel like that a bit. AK - So you don't see djing as a career as such ! DS - No not really its a nice side thing but really its about me and my latest record, play it loud, if you don't like it I don't care... come to me if you want to see what the record is I won’t not say what it is... So I’m not a dj as much as a sharer of music, I "share" music. I can guarantee you you ask me about a record and you'll be walking away with it in your hands to show your friends... I’ll sort you out with it tell you were you can get it... Not that they'll remember where they got the idea. [After some more glasses of rose vino 2003 we start to go through her record collection which is large enough and happen upon her favourite french pop singer Jacques Dutronc]

AK - Who’s that.. DS - Oh my god who's that ?... Mmmm, that’s Jacques Dutronc, Mmmm me and Jacques go back a long way! I told Pete Reddy (Redman AKA) one day that he actually reminded me of him... Look at him !!! AK - What year’s this? DS - 1966 AK - And its your favourite album ? DS - It’s my Favourite Favourite album!! I’m probably saying his name wrong... But OHHH MY GOD, he's just a Mod God. Like he's a revolutionary him and Serge Gainsberg were best friends they used to go out together scoring and see who could get the ugliest girls!! They were married to the most beautiful women in the world but they were just Dirtbirds... It’s not my rarest album but my most treasured you gotta understand this guy was a playboy... I even remember where i bought it. I want to turn the whole world on to him, that would be my dream to do that.... "I can Clear a room with one record" - Dandelion Sergeant she’s searching through record after record... AK - Anything else ? DS - I don't know its a really great album if I can find it... gonna be hard to find but its by 'Screaming Large Such' and this is the original soundtrack to 'The Monkees' AK - The Monkees!! DS - Yeah ye' think you know The Monkees, they were the most psychedelic band going, Brilliant! AK - I do like 'Stepping stone' DS - Ohh........ look........... it’s like, got show tunes in this album, I can't understand why people wouldn't dance to this album. Get your Ya Ya's out!

DS - 'The Misunderstood' Look at this this was one of my first albums, one of the first ones I bought, John Peel loved them so if he said they were good, they were good. They were a psychedelic band that never went anywhere because two of them were drafted to serve in Vietnam, not before they taught all their tricks to Jeff Beck and a whole host of other guitarists and managed to survive it all in the end... She drags the next record out of the archives, its an album in plastic by the band LOVE. DS - Oh my god what can I say about these guys, I remember I bought it when I was fifteen with birthday money. I went into town and went to Virgin, which had just after opening and the next day went back to see if I could get another one and found a tenner gettin’ off the bus AK - Found a tenner? DS - Found a tenner! The next day I got the second album. Amazing, what can you say, I've been to London and seen them play last year with the original guitarist, never seen anything like it. NEVER! Most amazing gig I've ever been at in my life. [She finds the MC5] DS - The world wouldn't be the same without MC5, they're revolutionaries, they changed the way things were, there would be no punk movement, no Iggy Pop, no nothin'. They were mental, beatin' everyone up. Very, very angry band. There's me husband [Kevin Roland from Dexy’s Midnight Runners], never happened but there he is... AK - Dexy's Midnight Runners!!! DS - Yeah I love them, they changed my life, I listen to soul and yeah they are a soul band... went to see them and my god has that man lived his life and helped us all, I know The Thrills through Dexy’s. There was no way I would have met those guys if it wasn't for the Dexy’s... they love them, the lead guy goes to dinner with Kevin Roland all the time, I don't get that privilege even though I know more about Dexy’s than he does. >>

DS - Look there's Johnny Thunders... he's into the same music as I am, Marc Bolan, he’s got everything I got, The Yardbyrds, The Stones when Brian was in them.. She continues to go through more and more classic albums, its endless and inspiring, she ends up talking about Nancy Sinatra and Lee Hazelwood. She organises a DVD of a really bad film she'd starred in. For one song she looks up into the sky in an obvious way and there just happens to be a hot air balloon waiting for her and then it’s a smooth transition into the next song, blonde in a mini with white kneehigh boots, hysterics. More personally she talks about her father who passed away the year before and its influence on her, it’s almost like she has decided to take stock completely of her life.

DS - There was a shop on Aungier street called "No Romance" it was the best of clothes in there! You would be very nervous going into this place everyone looked so well in it, I remember not being able to afford clothes in this place, that's gone now and nowadays you can buy a haircut and they go out and they meet you thinking they understand where you're coming from and next of all you've got a glass in your face. There’s a sense of danger in Dublin these days, maybe darker and less friendly, more agendas. Positively changing the subject we talk about ‘The Untouchables’ which is a three day fest for all things 60's in England .

AK - Did you say “This time right now, it’s a new starting point”, considering what's happened? DS - Yeah Definitely, that's it, Bring ----- It ----- On! And I've come up with this idea of going to Berlin, I don't care if it's the wrong idea. I don't really care about much anymore y'know? So went to Berlin, oh I tell ya, Swallow you up, Swallow you up... it wants me! And after everything I didn't really buy records for the year but it’s great after that time, a new lease of life yeah? Berlin, oh my god let me tell you, gonna go back right or wrong, I have to do it... there's this one record shop, it was like the Clash song " Lost in a Supermarket" its like the 80's like goin’ out for the first time, The minute I got off the plane and the transport everyone seemed to be doing their own thing. It’s a respect thing or a feeling they had a bad time. Now it’s like let’s get on with it, have a good time!

DS - Myself and Sharon have set up a clothes label we're gonna go over to the Untouchables festival and set up a stall, sell our clothes... We've called them Sullivan Kane... I’m gonna be a barrow girl... It’s gonna be everything sixties / MOD / everything.

When we were there we met the best people staying in the Turkish area, we didn't seem to be getting the true Berlin but really nice and friendly people, really interested. For them it’s like here, we experienced this boom Celtic Tiger thing, same for them but for most people like here it didn't happen. It’s got a Scott walker buzz off it... I imagined him living there.. We compare Dublin and Berlin. We hit on the situation that things have changed and generally the scene is very different from what it was but in Berlin there's still a sense of discovery for her in that city, originally she remembers a shop that brings her back.

So we're onto clothes, she speaks about her collection and how much a part of her it is, her ideas about a collection of new clothes she's collaborating with her sister on, and hopefully sell in the future. DS - It’s time to move on, I'm going to sell a lot of original stuff too, as well as the new gear, it'll have my stamp on it though, where it was bought, when I wore it, all the people I met when I wore the pieces... It’s 40 years since the sixties and I think it’s time to give some of those clothes back. So how long are they gonna last maybe another ten years... So I thought it’s time to give them back! Maybe someone young will get the memories I got when I wore them first, like live a life all over again.

It’s the end of the day, Nancy’s on the telly and the wine is more or less gone, she shows me amazingly bright coloured one-off pieces that could be only described as art. Long flowing illustrations on mixed nylon but it’s covered in Guinness she says, she lent the dress to her boyfriend Anto one night and he got it covered in Guinness. We laugh, the Rosé Vino 2003 is working a little treat at this stage. Lastly we talk about being loners, especially Phil Lynott and how he seemed to be happy living and working from Dublin but she says she feels sometimes on her own like he did [which I probably think is a myth, he was covered in women]. Maybe like a prize fighter out training at night, she seems torn between two states, one being the gregarious loner typically trekking the side streets looking for the darker parts and on the other hand still a known individual in the public eye somewhat, unfortunately stuck in the mix of people. She understands her life though, very well, it’s the lonely life of the long distance runner in some respects, people see her as an icon, a person to ask “What’s that record?” or “I love your make-up” and although that may get under her skin from time to time she is what she is. Dandelion Sergeant, Dublin’s demi mascot, thinks her work’s done here and might be about to move on over to the darker streets of Berlin Germany. I’m sure she’ll stun some passers by in Alexanderplatz some Saturday night, they should be happy and lucky to have her. Like all Dubs, though how long will it last, in her heart of hearts can she really ever leave Dublin behind considering she invented the tagline “You are where you come from”?

Ross McDonnell.

Ross McDonnell.

Ross McDonnell is one of the hardest working guys I’ve had the pleasure of meeting over the course of the last year. Working freelance to pay the bills he ensures he gets a regular fill of self-motivated work in order to feed the creative beast within, and judging from the amount of work I had to choose from for this article it’s bigger than Bigfoot. He’s recently come back from an Asian trip which saw him bring back another awe-inspiring body of the work. The following pages show two distinctively different projects which he has done, the colour work being ‘Krishna's playground', some work from a recent trip to India and then the black and white work studies of Dublin life entitled 'Wild at heart'. Another must-see project is his Unconfirmed Reports project which sees his bring together images documenting the end of the world!!! Look out for future issues as we try convince him to share more of his exceptional work with the masses. Text and interview by Richard Seabrooke.

01. How long you have been shooting? Are you self-taught? I can remember when I took the first photograph I felt was really worthwhile although I had been taking pictures for a few years before that. 02. How would you describe your style and approach? I suppose my style is kind of idiosyncratic. The pictures I try and take don't really fit easily into categories but they share a sentiment. I don't really care if they're perfectly exposed or totally in focus, if they've got the right composition and the tone of the image has the right kind of intensity, I'm with it. As far as my approach goes, I'm really a street photographer. I pound the footpaths and approach people or go to places where I think there might be potential for interesting pictures or weird things happening. I'd like to think it's a kind of an old school method of photojournalism. I'm a big fan of Robert Frank, Eugene Richards (especially Dorchester Days), Mark Cohen, William Eggleston, people like that. Their work shares an odd sense of wonderment and intrigue about the world that's expressed in their photos: the narrative comes together through the tone of the pictures rather than the subject. That way of shooting seems to have been lost along the way somewhere or rather less accepted by editors and galleries. It's a shame‌ 03. What do you hope to achieve through your work? As long as I'm satisfied that I'm giving it 100% that's all you can hope for really. Everything else is down to luck. 04. You use the camera lens very much as your passport into some very different situations. Why is it that people act more natural in front of cameras rather than the naked eye? I'm not sure if that's a true statement but there are definite reactions people have to you approaching them with your camera. Obviously it's best if they don't even notice you, but sometimes there can be a tacit agreement between you and the person you're photographing. They can be aware of you approaching and putting the camera to your eye: consenting to the picture without ever speaking a word to each other. Then there are times when you can force the intensity of the situation by being making the person aware of your presence, challenging them to look into the lens, to give you a reaction. Ultimately though, it's all pretty subjective. A photo is a snapshot: a hundredth or a thousandth of a second, frozen when you push the shutter and afterwards chosen out of hundreds or thousands of similar pictures. When you think about it, there's no real naturalism. >>

05. Rather than just shooting interesting individual shots you seem very interesting in documenting stories, what is it about this way of working that you find so appealing? Any plans to put any of these stories into print and publish a book or something? It's really essential to be doing stories and tackling issues. In fact I usually feel totally guilty that I take such a freeform approach to my photos where others out there are completely immersed in their subjects or focusing on one tiny facet of a bigger issue. It's something I'm working on in terms of longerterm projects and focusing on more singular projects. I'm currently trying to publish “Unconfirmed Reports” as a book and will hopefully do a show (of some description) this year, either here in Dublin, or in the States. 06. As well as your own website you're also responsible for another site Can you explain this project and the ideas which formed it? Unconfirmed Reports is a post-apocalyptic photo essay based in New York. It's a collection of documentary photos that's edited together into an end-of-the-world story: a kind of Orwellian picture book. The project came about after I moved to the states a couple of years ago and felt a little annoyed about the hypocrisies going on in their society. Every news bulletin on Fox starts with the newsreader saying that “There are unconfirmed reports that…” and following it with ”…Muslims are spiking the Twinkies with angel dust” or some absurd 'terror' threat. All the Yanks have these bizarre car stickers saying that “Freedom isn't Free”. It's like they've developed their own form of redneck existentialism. The mind boggles. Anyway I just started shooing in odd places in the city and the boroughs, going to protests, walking the streets at night, trying to adopt the style of press photographs but subvert the subject matter into something strange and dark and then patch it all together when I felt I had enough to create a decent narrative. 07. Heroes... I went to see my ninety-one year old granny before Christmas and when I arrived at her house she was out the back chopping firewood with an axe! Legend. >>

08. Film is another part of your arsenal that you approach with equal vigour. What are the challenges in doing motion over still work? What have you done up to now, where can people see your work? Film is my first love and what I've always saw myself doing, I wanted to be a cinematographer when I was fourteen mostly because it sounded cool admittedly. Photography, for me, is a very solitary pursuit; it's about going out and talking to people, shooting pictures, listening to stories. Film, on the other hand, is the collaborative imagining of a whole world that you're helping to invent. It's about sharing ideas and working with a whole team of other people towards a common end. For my part as a sometime cameraman the challenge is in the preparation and making sure you put what is on the page onto the screen in the best way possible. I've been lucky enough to have shot four pictures as a cinematographer and to have produced two award-winning shorts. In honesty, lighting and camerawork still scares the shit out of me, but I love it just the same.

09. What's your plans for the future? I'd like to get some assignment work this year and travel, whether it's with an NGO or a publication. Longer term it's important to be aiming for agency representation, it's difficult to get that kind of gig without the support of an established network behind you. 10. Any obsessions or impulsions you'd like to share... I'm a full-on chocoholic. And eBay. Oh, and those fantastic Polish hookers down the back of a famous Dublin nightclub. But don't tell anyone (that's a secret).



Working out of Dublin Skunkimunki is a creative dabbler who won't be coralled into any particular style, preferring to keep his mind open and his hands busy. Working 9-5 for "the man" his self-initiated work follows no set style or approach yet has an almost childlike need to experiment and try everything at his disposal. One day it could be illustration, the next painting, the next photography, etc. but the output seems to hang together in a disparate way, the quality of the finished pieces threading them together. Who knows, maybe one day he'll settle into a set Skunkimunki style, but until then this is one guy enjoying all that is around him and to that we tip our cap. Text and interview by Richard Seabrooke.

Previous page. ‘Voyeur’. This page. ‘Sketch 4 - team’.

01. How long have you been illustrating, how'd you get into it? I've always been into illustrating. I've pretty much been drawing pictures since I can remember, all through school I had sketchbooks to the annoyance of anyone who tried to teach me anything. Then when I finished with school, I went to Dun Laoghaire college of Art, which was fun, as it was the first place I was expected to have a sketchbook. While I was younger I read a lot of graphic novels and this definitely had a huge influence on the style which I developed, I loved the work of people such as, John Wagner, Dave Gibbons, Lynn Varley, Klaus Janson, Chris Claremont, Joe Rubenstein, Dave Sim and of course the big names like Steve Ditko, Todd MacFarlane and Frank Miller. Since I was very young and started drawing it's always just been assumed that this is what I'd do, so I did.

02. How would you define your style? What guides you in choosing an image to illustrate? What do you set out to do through your work? I always find it hard to define my style, I love to keep trying different styles and mediums. Sometimes I try to ask questions, sometimes I like to answer them. Sometimes I'll draw just for the process of doing it. All depends on what mood I'm in. At the end of the day I love sitting in front of a sketchbook or a computer, it's what makes me happy. The great thing about it is that the options and outcomes are infinite. In my opinion, one of the main purposes of all art is communication. All artists want people to react to their work. Understanding the thinking behind it is not essential, but some sort of reaction to it is. I consider myself lucky to be able to do what I do and make a living from it.

03. Who, what and where inspires you? Everything inspires me, or has the ability to. Recently I have become fascinated with photography and it's teaching me that anywhere in the world you stand you can turn around and find something interesting. Everywhere you look there is something inspiring, most of the time it's the things that people take for granted, small things, everyday things, objects and situations people overlook because they are used to them. The other thing that is an infinite inspiration is the web, anything you need to see, just look it up, it's a huge resource. Drawing and illustration-wise it can be a passage in a book, song lyrics, an ad on TV, a sentence someone says. I'm constantly processing sources of information and inspiration. Sometimes I just sit down with a blank page and just think to myself “What do I want to draw?” “What would make me laugh?” “Can I draw that?” Sometimes I like to not think too hard and just start drawing and see what comes out, and then take it as it comes. Subtraction and addition, take out what you don't like and add in what you want. Some people whose work I really love and which inspires me are, Floria Sigismondi, Arni & Kinski, Michel Gondry, Shynola, Designgraphik, Jamie Hewlett, Airside, Shilo Design, Jean-Sebastien Rossbach, Scien & Klor (123Klan), Banksy, Viagrafik, Stormie, Daim, Corail there is a huge amount of incredibly talented people out there working at the moment.

04. During the day you work for DigiCC. Why do you feel it's necessary to do this work in your spare time, what do you get out of it? There really is no such thing as doing this work in your spare time, I actually find it difficult to find time to sit down and work on my own, but I manage it because it's something that I want to do. During the day I get to work with some high profile clients, this has taught me compromise, commercial needs and wants and putting a value on your work, it also teaches you to adapt to other people's ideas. It still amazes me the difference in peoples opinions, and of what they like. The guys in DigiCC have always encouraged an amount of freedom and using our imaginations when it comes to the creative side of things Working with restrictions teaches you, but it's essential to work on projects that you control entirely as you can then go any direction with it and possibly come up with something exciting, this is why I do it. I'll probably never stop sketching and drawing in my spare time, as it's just something I love. If you keep yourself excited about the work it will show. At the end of the day, I suppose I do it for my own enjoyment and if other people like it then that's a bonus.

If I had to pick a place that inspires me, it's Dublin at the moment. So much is happening here right now, Dublin is very exciting at the moment, growing so fast. If I had to pick anywhere outside Ireland I'd have to say New York, it's a bit obvious, but a great place, so much going on.

Left to right. ‘The elusive white hyena’ & ‘Hyenas’.


Left to right. ‘Sketch 6’, ‘Guy’ & ‘Beckett’. Next page. Various photographs.

Left to right. ‘Sentry 1’, Animal rights’ & ‘Sentry 2’.

Left to right. ‘Course’, ‘Girl’, ‘Guy’ & ‘Man with dog’.

This page. ‘Overboard’.

05. Do you like to work alone, collaborate or sometimes do either on your work? Why so? I usually work alone, but I am very open to collaborations if I met someone who is on the same page (sorry). I would love to work with a writer of some kind as I can illustrate but the writing side has always eluded me. There has been some talk and there may be a few collaborations soon enough, we'll see. 06. What do you reckon to the state of Irish creativity at the moment... I think that Irish creativity is probably the best its been at the moment, you have a whole generation of people doing brilliant work, artists like Aidan Kelly, Michael Morris, Mo Kelly, Chris Judge, Frankenstyles, Sean Scully. Companies like Angry, Bodytonic, Modern Green, Ebow, and musicians like Humanzi, The Things, Mainline, The Chalets, The Chakras, Rod, Autamata aswell as all the DJ's, too many to name them all, so much talent out there right now. At the moment I feel a lot of people are finding their feet and in the next few years I think we will have a large amount of great work to enjoy. 07. Your creativity stretches across many media (illustration, new media, photography, music). Do you think it's technology or creativity, or maybe an ickle bit of both, that allows people these days to dabble so freely these days? The rise of technology and harder, better, faster, stronger machines has made the creation and distribution of artwork, photography and music in all its forms a much easier and fun thing to be involved with. You can sit in front of the TV one night sketching, ink it, then either scan it or take a high res photo of it, transfer it, color it on the computer, turn it into a screensaver and upload it to a site for the whole world to see. You can write a song, mix it down, burn it to a cd and go out to DJ and play that song the same day you wrote it. The only limits are ones you put on yourself. It's all so accessible.

The technology which is available to consumers now is mind-blowing. The speed of the newer processors is incredible, and equipment like Wacom tablets blur the lines between traditional and digital media by allowing people to work on a computer almost identically to working in a sketchbook or on canvas. If the creativity is not there in the first place, it will be slightly harder, but if you are a creative person with a good grasp of technology, there are no restrictions to where your work can go. Personally, I get bored very easily and I like to switch between projects, technology allows me to do this much faster. I find that sometimes when you get away from what you are working on you realize what was may have been missing from the other project. No matter what machines you are using, they are just tools, no different to pencil and paper. I think it's still important to maintain the human aspect of the work, so no matter what I'm working on, I always try to keep the sketch book busy as well. 08. What's firing up your stereo these days? Tuesday afternoons: Cinematic Orchestra - Everyday / Orbital - Snivilisation / Ulrich Schnauss - A Strangely Isolated Place / DJ Food - Raiding the 20th Century. Friday nights: Fabric live 22 - Scratch Perverts / Plump Dj's - Eargasm / MIA - Arular / Humanzi - Untitled. 09. Any big things happening for you soon that you'd like to share. Any plans to publish your work? A couple of things hopefully happening, Ways of getting more of my work out there, but I don't want to jinx them by telling. For the future I'd love to publish some of my work. I'd love to do a book of photography (any publishers reading this, I have a few ideas). I'd also love to design collectible Vinyl toys. So many ideas, so little time. 10. Any obsessions or impulsions you'd like to share... I've gotten pretty obsessed about carrying my camera everywhere. I've had it for a year and a bit and I have about twelve and a half thousand photos so far, you just never know where you will get that amazing picture. If not obsessive, maybe a little excessive.

This page. ‘Cop car’, ‘Heartbroken’ & ‘Running out of time’.

Left. ‘Brown girl’. Right. Various horizons.

Sneaker Freaker.

My first encounter with the (extremely hot) foot fetish fanzine Sneaker Freaker was in one of my favourite New York record emporiums, Manhattan's Turntable Lab. This shop is one of the true dope spots for all good vinyl junkies out there and they also stock a whole heap of cool stuff but that's another story altogether. It had been a long trip and I'd scored a suitcase full of Nike Prestos, some special Atmos Air Max joints, a pair of tripped out Asics and the pearl Adidas Forum Low's (which I still rock when the weather’s good). Once the sneakers where bought and bagged, my next mission was to pick up a fresh stack of wax at the above named store.

After shelling out a wedge of Benjamins I was ready to drag my bounty home, when I spotted something that caught my attention (or Sneak-dar) in the book section I had never seen before. Slap bang on top was the first edition of my soon to be favourite fetish fanzine. Instantly I was hooked, they had the knowledge on what was hot, interviews with the people who where behind the coolest shit out there and it looked amazing. I was like a junkie after a hit... This was my first taste of sneaker porn...

Sneaker Freaker, The Book. Piles of reasons to get stuck into sneaker culture.

When Richard asked me to interview the main man behind this project, Woody, I flipped... In a nutshell Sneaker Freaker is the sneaker version of Candy and is equally sweet... Better still, for those who missed out on the “now impossible to find unless you’re willing to lose a wedge on eBay” issues, they’ve compiled a best-off book which contains new articles and many republished articles which will get you up to speed with sneaker style in jigtime. Rant over, let the interview begin. Text and interview by Arveene.

Nike Air Force One. So good they made Woody nearly wet himself.

01. Obviously you’re a fanatic for the sneaks but initially it couldn't have been be a really profitable subject matter to set up a magazine about the rarest of the rare kicks instead of let’s say a U2 fanzine for Italians or something. How did the magazine come about and how did you make it work so you could go full time? give us a bit about your background..... Yeah you're right, it was never intended to be profitable, which is just as well as it wasn't for the first years, unless you count working for two bucks an hour profitable. Really, it was only the end of last year that I thought of it as a proper business, which was when we did the book with an American publisher. Anyway, going way back to the start, the first issue was done in 2002 and was finished in about a month and was pretty small. In fact I'd say it was crap but I said I'd do it and I did and that was the main thing. I just gave them away in a few stores and everyone loved it so much it inspired me to keep going. Issue 1 is now bit of a collectors item and sells on eBay for a hundred US bucks or something crazy and yeah I know - I do wish I'd kept a few boxes of them. But the primary goal from my point of view was always to get free stuff. Loads and loads of free shoes, all for me. The best, the rarest, the most illest sneakers, all in size US11 and hand delivered to my door by a man in a van - that's not too much to ask is it? Snkr Frkr was also conceived as a project that I naively thought would promote my design business. As life is never that simple, I've ended up shuffling most of my clients because the magazine just took up too much time and I couldn't cope. Plus I globetrot a fair bit and as a solo outfit, it was impossible to keep the fire cooking while I was away so my clients got sick of me real fast. A few years on and I'm now working with quite a few sneaker brands on a variety of projects so I guess my original dream has worked out after all.

02. Do you get all the free kicks you want, do the powers that be at Nike/ Puma/ Adidas/ Reebok/ Vans/ Atmos/ Bape... etc... sort you out with what ever it is, that makes you tick. In a word. Yes. It is true that I do get a lot of shoes. But as I mature (like a cheeky old cheddar) I find I'm a lot fussier so I don't put my hand out all the time, I save it for the big ones when I really need to call in the favour. I also give away a lot of shoes to friends who have no idea about their footwear and I also donate pairs to the bums in my area. Everything else gets thrown on the power lines after every issue and the local kids steal them, crafty little buggers. 03. Is it possible to find almost any sneak your after, Ireland is a particularly dry spot for all that's foot except for the new Size? store which has just opened (they got the Evolution Pack)... Can a man of your knowledge and position hunt down almost any rare (missing edition) of a particular old school joint to quench the hunger or blood lust if you were a vampire and needed the blood of a nubile young madden coz really Sneaker heads are Nosferatu for rubber, premium leathers and fancy stitching? Although I'm cynical to the core, like Tony Robbins I'm also a big believer in positive thinking. If you got the hunger bad, and your pockets are deep, you'll find what you are looking for, no doubt about it. Sometimes they may come to you, like a virgin Scarlett Johanssen in a wet dream. Sometimes, like a scabby old hooker on a Dublin street corner, they may find you. But you have to live to dream don't you? And be on eBay all the time.

04. How big and bad is the fake market and do you have any idea as to how much it may be worth today? Yes, this fake business really gets on my tits. So many kids are being ripped off, I get probably one or two emails a week from kids and their moms saying that they bought some fake-ass shit on the net. Mind you, the fakes can be funny, especially when you see purple and yellow Jordans or the Safari Air Force. But remember, the performance is nonexistent, they are uncomfortable, they fall apart, they don't fit right, so why would you buy them? People just see dollars and their minds go walkabout. A fake rolex that works is funny, a fake Vuitton handbag is funny, a counterfeit DVD is funny, but paying $500 on eBay for fake shoes is fucking hilarious. People are just idiots when it comes to the idea of 'easy money'. I feel sorry for the kids who get ripped off, but often it's their own fault because they see a bargain and it bites them on the ass. A grown-up kid who claims to be into kicks told me last week that he was gonna get into selling sneakers, and I said “oh really' and he said “yeah, I found this guy in Korea who has 100 pairs of Supreme Dunks for forty bucks each' and I said “oh yeah' and he said 'yeah, apparently he works at the factory and he found them in a bin…. blah blah blah (insert your own story)'. And I said 'they're fakes for chrissakes. Where the hell do you think they came from? They're not real. You are kidding me right?'. But he wasn't kidding and nothing I said could persuade him otherwise! Think of it this way how many people do you know who have bought sapphires in Bangkok or carpets in Bombay and got ripped off? Money just rots the brains y'know. But to answer your question, I think it's well into the billions of pounds, especially if you include apparel. >>

The Dunlop KT26.

05. Did people think you where weird when they first found out how obsessed you where with the kicks? Yes. But now they bow down at my feet because I have a lot of shoes and I'm the coolest banana in the bunch! It is funny how things go from school to cool because they usually end up going out of style again someday. I imagine it's like any hobby, you're into extreme stamp collecting and it becomes trés cool and everyone starts doing it and you get the hump which is fair enough. But you can't stop progress, just as you can't put your head in the sand and pretend it's not happening. 06. How do you feel about people who are just in it to make cash, I mean those who buy up the limited gear and hike the prices up on Ebay? Yeah, that used to annoy the fuck out of me. You go in to buy your killer shoes and some twat has been in before you and bought out the entire store. What can you do except chase them down the street and bust their head open with a mallet? They key is to work on your hookups and get in before them... Alternatively, I now see it as a good thing. It keeps kids off the streets, teaches them about hustling and I guess it's good for their maths as well. And it means that if you want something you can probably find it online, even if it costs an arm and a leg. That's the price you pay to satisfy your ridiculous desire. But the biggest winners out of this whole shoe trade are FEDEX and UPS. There's shoes being flown everywhere…. it is funny and crazy and it makes me laugh. What's funnier though is when the resellers get stuck with shit they can't sell. ROTFL.

07. If you didn't have a Sneak fetish what would it be? I love cars, especially old American muscle cars. In fact you'll often find me awake at night on eBay watching auctions for my dream car - a 1971 Plymouth Roadrunner with a pistol grip 440, lime green paint and black call outs. My current ride is a Camaro, I just had a new engine installed and it goes like shit out of a shanghai… 08. Do you feel that it has become in any way commercialised, is it a good thing or bad thing if it has? What about the sneaker riot over the Pigeon Dunks? Are you asking me whether a six billion dollar a year industry is commercialised? I hope not because that would be a crazy question and you've been doing really well up til now. If on the other hand, you're asking me whether it has reached the tipping point then it probably has, but I see this more as a result of media saturation. There's no new story to tell. Even kids in Siberia know about these crazy 'sneaker heads'. The riot you're talking about was pretty small. I can understand it when someone says they didn't eat for a week so they could buy shoes but getting stabbed is crazy, but that's about money and prestige, not so much about sneakers, they just happen to be the conduit between good and evil. Myself, I prefer the Korean students, they really know how to start a riot. >>

SNKR FRKR peeps and office. Where the magic happens.

09. What sort of music makes the Man tick? I'm a nut for breaks, and probably have one of the best collections of dated late nineties 12 inchers you ever saw. Fused and Bruised, Skint, Paper Recordings - mostly English stuff. Nowadays I listen to the radio, we have a great community station in Melbourne called 3RRR which is home to every music style you can think of. Metal, jungle, hardcore politics, indie rock, country, hiphop, techno‌ all on the same day, sometimes in the same hour. It's occasionally worse than fingers down the blackboard but you can always switch the channel.

SNKR FRKR press proofing.

10. How good is Australia for sneaks, do you think you would have ended up doing the same thing if you had been born any where else? Impossible to say really. Before Snkr Frkr started, the shoe scene here was very underground and unconnected and the quality shoes on offer were pretty thin on the ground. Now we have big groups of kids who all know each other, do the events, go to the launches, play ball together, bitch and moan on the forums and often the shoe thing is their common ground which was a very unexpected byproduct of starting the magazine. And the best part of all is that pound for pound, we get more of the good stuff here than anywhere else. Just don't tell anyone, it's a secret. 11. What was the first pair you can remember having? I'd love to say I was rocking Vandals or Shelltoes but I wasn't. There's no point trying to make myself look supercool like Bobbito coz I was just a kid and my mum had no money. Dunlop KT26 was my first true love, I don't think you can buy them anywhere else in the world. They are like a primitive New Balance, came only in silver and royal blue and were supersnazz back in the seventies. Nowadays you wouldn't be seen dead in them, as they're old school chav (we call them bogans) beyond belief. But I really love those KT26 sneakers, and they still mean a lot to me, regardless of the modern scene. 12. What was the last pair you got that made your eyes sparkle like a girlfriend in a jewellery store? Ooooh - tough question. Last week I was in Tokyo (as 'one' is of course) and I found a pair of Air Force Ones that are so wrong I nearly wet myself on the spot. The fact they are a womens pair and I got them in a size 12 (girls run one size down remember) only added to the allure. They're kinda fruity beige, with mint green swoosh and sole and a leather mid-sole with a canvas toebox and premium brown leather tongue patch. Sounds fugly right? Well not to me. No-one be wearing these where I'm from! And that's not something you can say lightly. 13. Lastly i have a begging question, I've been searching for a pair of Nike Rainbow Presto's (in a size large) for over 6 years. Do you have any resources for tracking me down a pair or do you think i should just keep on dreaming? eBay. You're heard of that right?

Nike Air ‘Woody’. One of one.



The London Police.

The London Police.

The first time I ever came across the work of Amsterdam street art crew The London Police was back in Barcelona in 2001. I had just popped off The Ramblas and was walking down a small side street when I was greeted by a huge scale yet deliriously happy pasted up paper sticker of one of "The Lads". Stretching metres high on the side of a building this character was cheekily peeping around the corner, ready and waiting to grab the attention of the unknowing viewer very time someone like me looked up. Since then I have followed the evolution of them within the street art scene and as many have come and gone their trademark creations have continuously evolved and found their ways into other iterations, tees, skateboards, toys and dogbowls... yes, dogbowls. Chaz is now the last remaining member of The London Police but he's a very man to track down as he's constantly skipping around the world spreading his art. So who better to send on the hunt "Jackal style" than our man Asbestos who didn't stop until he hooked it up and as you'd expect he's come back with a corker. Text by Richard Seabrooke / Interview by Asbestos.

AS: Tell me a bit about where and how TLP got started? CZ: It started with me and my friend Bob (The London Police 1998- 2003). We met Garrett (TLP 2000-2004) about two and a half years after we started it, we became friends and after about 6 months we invited him to join. At the beginning with The London Police Bob and I weren't aiming to base everything around the characters, the Lads. It just kinda happened that way because it became so popular. The idea was that you had an ever increasing number of people joining The London Police who all added something and it was all kinda like this kids dream of having a gang; having your bunch of geezers to hang out with and get creative with. I had no problem in showing them how to draw my character and they were happy to be part of it. We even had a fourth guy draw them for about a month but he was going crazy with his own ideas and we all decided he was better doing his own thing. And so for a year and a half we were all doing it together and it was a golden period, ya know like, three minds working as one. So much got done, everyone kinda knew their place, everyone had a good attitude, we were all friends. Each of us had abundant talent and, although I had hoped that the other guys would also bring their artwork into the fold, there seemed to be so much to do just working on the lad character. Unfortunately as we got more successful, the pressure grew on each member to sort of take a lot of time out for The London Police. Bob was first to feel the pinch. He found it too difficult to be travelling so much when he had another job, a band and a relationship. He left in November 2003. Having formed TLP with Bob who was, and still is, one of my best friends, it was a sad but brave decision from him. He knew he would miss out on some serious adventures but he felt he was just living off someone else's character design. After this time Garrett and I weren't communicating very well, we tried hard over the course of 2004 to work it out but we could never agree on the fundamental point (that I should now have full rights to my own character having shared it equally for so long) and one day communication stopped altogether. For sure it's a longer, more complicated story. This is my brief view on it. Sad times but I've moved on from that now.

I've been drawing 'lads' now since 1998 and first invented the characters in 1997 when they were doodle fodder, I drew it for fun. Around 1998 I came up with this name The London Police, it had the appeal of a Rock n Roll band name. I liked the idea of that name, and we had no intention to be known as street artists or graffiti artists we just wanted to do photography and do exhibitions and then make wheat pastes of our photos and kinda make galleries on the street, kinda like what JR is doing now in Paris (big up JR). That was like our motive and we were young, we were living just outside of London so we'd literally jump on the train for the weekend, buy a few beers on the way up and just get on buses in London or just walk places or get off at a station we didn't know. I don't know, we just wanted to take in London and we had all these great ideas that we were gonna dress up as like business men and put posters up. The London Police was basically a creative pool that we wanted to start. It was around that time though that I started to draw the characters and we did two shows in London, photography shows, and with the money from the photos we sold we decided to hit Amsterdam and that's where I ended up saying I'm gonna stay for a few months. Bob had to take a year of to go finish university. So I had the first year in 1998 I was in Amsterdam and started to draw the characters on the street, and did it for a whole year by myself. Bob came the next summer to join in and then we used to decorate nightclubs here with different things including lads. We were still pushing the photography a bit but started to realise that the strength was in that character. AS: So how much have the characters changed in the last six or seven years? CZ: Well the essence hasn't changed, but the quality of how it's drawn it think has vastly improved. And my kinda relationship with the character, as corny as it sounds, it's like having a friend and just like you don't give up on your normal friends, they don't give up on me. When people say to me, “Don't you get bored of drawing them?” I'm like what? Do you get bored of seeing your friends? For me it's exactly the same. I'm not gonna let these youngsters down. Plus it's because of these youngsters that I get flown to places like Shanghai to do a show. How many of your friends do that for you?

AS: So do you actually see them as having characters themselves? CZ: Yeah, what like personalities? AS: Yeah CZ: Funny you should say that, because the thing that first attracted me about drawing them was to draw them on a very primitive level, like, very quick, three circular shapes, three bodies on them, a pair of legs each, three smiles, three pairs of eyes and then incredibly having drawn such a simple thing three times, already all three of them looked different. Just because one eye is in a slightly different place and one mouth is just a little bit crooked, I mean the personality just oozes out of them. I recommend you try it and see because it's an amazing thing. So at the beginning they were very primitive and I would just draw them and draw them and draw them and draw them and draw them and they always looked different, it fascinated me. You could have slightly fat ones or ones with slightly shorter legs etc etc and that's how it kinda started. But as with everything in life, as you progress, you strive to improve on each new drawing. You're gonna keep getting better until the point, we reached about three years ago, where you'd definitely take a good five minutes to draw one on the street, if you wanna get it tight, if you wanna make it look good. Which is one drawback of what I do, in a going bombing kinda sense, it can be a real mission. AS: Because you have to take time to do them? CZ: Daytime it's easier because generally everyone can see you so you can just take your time. Hopefully you've found a spot that no one cares about. At night, start to finish I can be done in 2-10 minutes depending on the size and amount of heads. However in city centres or wide open spots I'm continually interrupted by cars or people and so I spend half the time walking around the block and back or acting like a homeless geezer (my crap clothes kinda give that impression anyway). Still, I get much more of a buzz after im finished knowing how hard it was to do and knowing how many people appreciate that about street art/graffiti. I mean, one time in Milano at the P4 show we all came outside around 5am (having been preparing the show) and BLU (incredible Bologna artist) had painted the whole side of this wall opposite the show. It took him about 1 hour using brushes on the end of 3m poles. I have no idea how he got away with that on a main road! But that's exactly what made it so special. In turn this desire to push things can show the next artist what’s possible.

AS: So you do paste-ups as well, just for speed, but you prefer painting them straight onto the wall? CZ: Well it's changed now, as the years went by with The London Police we'd go on a bombing mission and use a variety of media like posters, stickers, hand drawings and we all had our specialities. Garett was responsible for most of the posters. He liked the extreme spots with the most attention and, unlike the rest of us, he was able to get to them, It seemed that even with brushes and buckets strapped to him he could climb basically anything! I would be more happy to find three or four streets around there and do little hand drawings in corners. I like it when you have to find them as oppose to always being confronted with them plus I didn't want to fall off a façade of a five storey building and die. I appreciated the big posters for a while. It was great to mix the two styles plus we'd pepper the area with stickers at the same time. Bob was always doing both. A solid walkie talkie man and keen with the pen. In that period, in my opinion, he was the glue that held the whole thing together. AS: So do you still do those large ones or have you moved away from that? CZ: These days I'm getting into huge walls, hired scaffolding, bucket paint and mathematics! In the last year I made big pieces in Berlin, Reykjavik, Hengelo (kinda small city in east Holland), and Buenos Aires. Of course on that scale they're usually arranged walls ie legal but you can also find some more disused walls that no-one cares about. Oh! I say that but, in Buenos Aires I did a massive illegal wall with DOMA and FASE and some other geez . We hired some scaffolding and got going about 11am always wondering when the police would turn up. By nightfall we were nearly finished and these two geezers came up talking to the other guys in Spanish. Then they left. “we have a problem!” DOMA said to me. It seemed the crap that was painted on the wall before we painted it (and believe me it was crap!) was a testimony to a dead football hooligan who had died whilst hooliganing etc. These guys were just letting us know about 50 geezers were on the way to give us the 'good news'! I'm not sure how true it was but the Argentine guys looked a little worried and within 2 minutes we were all packed up and running down the street with the scaffolding! As for the posters,well Garett left The London Police about a year and a half ago and with him went the whole poster thing. They remain his legacy. I think it's an incredible medium to put up but I don't like climbing and I don't like icky wheatpaste. I'd rather do hand drawings, in my eyes they're more special. >>

Left to right. TLP Teddy Troop toy, ‘The Lads’, ‘Dogs’ & Addict Artist Series tee.

AS: You wouldn't explain how you create the characters, what you use, the technique? CZ: It's a simple formula. One lad consists of a single head, a single body and one to three shoes. The heads can then join with other heads, so you can have any amount of circles creating heads. One or more of the circles will have a strong white body and strong white trainers. The other circles/heads will have swinging black bodies and little black legs which swing about, in the sense that there's this one lad carrying these other lads. To draw them I simply start with the circles and how many circles I want, in what shape, then I take a fat marker and go around the edges to create a very fat perfect line around the circles, it's equal all around the circle and gives you that nice chunky feel. Then I'll add the bodies and the legs to the main one, then I'll add the legs and the bodies of the swinging ones, add some features, add a number, put a logo and kinda date it, run away quick.

AS: Is there one lad or groups of lads? There's no one specific character? CZ: Obviously over the years… the one without the head is like a single lad, the single lad almost becomes his whole identity. They can look different, but again with the formula, with these circles, you could have a thousand headed lad, you could have a five hundred headed lad, you could have one with two heads, you could have one with seventeen heads, ten of them have normal bodies, seven of them swinging… you know it really can go on.

AS: How long has it taken you to get that perfect line? CZ: I'm still trying! Sometimes it comes, sometimes it goes, we used to call them 'eggy boy' if the circle wasn't good but the years of practice have bode me well. These days I can pretty much always achieve a good circle*, whether it's a difficult thing or not, to me sometimes it seems like the easiest thing in the world. (* I mean there's no real perfect line and to be honest the little mistakes and chinks in 'the perfect line' make it more real anyway).

If you look at it, visually speaking there's nothing to make them male or female, no genitalia, they're not holding a pint and talking about how great West Ham are! (like a normal geez would)

AS: Do you kinda zone out when you're doing it? CZ: Yeah, I've done it so many times my body knows the movement... it's like anything… An osteopath told me that to create a new muscle you have to exercise that area 500 times and hey presto! you'll start to build a muscle. That's why geezers with no arms can pick up shit with their legs and write books with their feet. And just the same, when I'm drawing a circle, it doesn't matter how drunk or stoned I am, the circle's there, it's not a problem, it's like taking a piss, basically, my body knows instinctively what its about to do and just takes over.

AS: And are there any ladies? CZ: they're all unisex but it stands to reason that by calling them lads everyone gets the impression they are masculine. The term 'lad', in the way we used to use it, just meant 'thing'. If I wanted one of Bobs cigarettes I'd point at them and say “Gis' one o' them lads there me ol' mucka” etc.

AS: So what sort of reaction do you get from the normal bloke on the street, normal person passing by when you're painting? Because the character's quite a positive character… CZ: Generally positive but everything you can imagine, I mean, I've been hugged, I've been kissed, I've been proposed to, I've been spat at, I've been punched in the face, chased, I've had arguments, lengthy discussions, I've had people lavishing praise on me, plenty of smiles and nice passing comments from young and old alike, I've had people sit down and watch, I've had policemen shake my hand and walk away and then others who take your name and get lyrical, I've had showdowns with security guards.. Everything you can imagine, it can go from on extreme to the other, you never know, so when someone approaches, you kinda look at them, like oh, is this person gonna kiss me or punch me in the face. Generally it's a good reaction and some people are so happy to meet you they really tell you that its made their day!

AS: Do you think you get a better reaction because the lads are kinda, they're very positive, very sort of… CZ: Yeah luckily what I do seems to cross over from… anything from the graffiti world to something your Nan would like, or a five year old kid would like. That's the strength of The London Police characters. That's what makes it so popular, and in turn, that's what can sometimes make it unpopular I think with the hardcore graf world. It gets labelled graffiti yet it transcends out of their morale domain. You see what I mean? AS: Do you still think there's a reaction to people who aren't doing traditional graf on the street, from the graf world? CZ: I think everyone is allowed their opinion and what a boring world it would be without. I don't really feel to comment further or generalize what a whole 'scene' thinks. All I know is I got friends who go out and rip the place to pieces and I appreciate them being who they are, but it's not something that I'm into much. Personally I think , in my opinion, it's more fun and more to the point to try and do something new, creative and original that inspires people and inspires yourself. If I go around writing Chaz on the wall, it's just boring and way too easy. As for haters, they don't bother me. It's actually a very entertaining part of the game. I try not to hate back tho', it's a waste of energy. I do have to say that without graff and tagging there wouldn't be the whole scene that I'm involved in now. So I bow down to it and say thank you to those who inspired me (most notably MODE2) but I don't care if I'm considered part of a 'graff scene' or 'street art' scene. I'm not worried if I pass as a graff artist or if the graff community likes TLP. Everyone can make up their own mind. I take each person as an individual and generally get on with most people who do the same. I'm happy to hang out and have a beer with anyone: I don't care if I like their stuff or not. I'm more interested if that persons a big geezer whose going to skin up. AS: Have you found a better reaction then, or a better community feel in the street art community as opposed to the graf community? CZ: It's so hard to define people into those labels that I cant really answer that question. I look at it like we're all on one team. There's a lot of boring looking cities out there, but if everyone groups together, we can all make great things happen.

AS: So what's the plan then for the next year? What's the plan for The London Police? Do you know what you're doing or where it's going? CZ: I never know where it's going or what I want but I know where I don't want it to go and what I don't want to do. It's a much easier way of dealing with things when you look at it that way round. I know I want to travel as much of the world as I can, which is a personal dream anyway, and I just happen to have this superdope character that I can take with me wherever I go, and draw everywhere I go. This year already has seen lads in Buenos Aries in Argentina, and Ljubljana, Slovenia for the first time. That's exciting for me because, although some people in the major cities I visited know The London Police, there's a lot of people who still don't and lots of other cities to visit who don't know what it is. And there's nothing like that first time when you discover something. You're thinking what the hell is this? Then in 100m there's another drawing by the same artist! That's the sort of thing when I was a kid that I adored, that's the sort of thing that still now I appreciate. As we speak I've got a show in China and it's specifically a show for dogs. Because, incidentally, when I told one of my Mums friends that I was going to China about four months ago, she said to me “Oh, I don't like China, they're not nice to dogs there”. So I thought about it, and I'm a massive lover of dogs, I've written a dog album, I'm a big fan of youngsters, so I thought to myself, I'm going to do a show for dogs. I'm going to make the show for the dogs in China, to represent them, to support them, and I'm making a series of dog jackets for them to wear. We're doing a bowl, lead and collar combination pack. I'm going to hang some of the paintings lower down, so they're at dog height. So in a sense the show is for the dogs, dot, dot, dot, humans allowed. It's kinda just a joke ye know. People take all this shit way too seriously anyway. Truthfully speaking there's no money in this. It basically pays for itself and it's supposed to be fun for all ages. So, the idea of doing a whole dog show was to make a joke as well about the current scene. The products we are making for this show are limited not because we can then jack up the prices but because its fun to have some exclusive products that go with the show. People need to lighten up. Dogs are wicked. I'm looking forward to hiring some dog-models to get a few proper snaps of the jackets in action. >>

This page. ‘Lad & Dog’, various wall art & Juice magazine cover.

This page. ‘Lads with Dogs’ & various TLP sightings.

AS: And it's another challenge as well? CZ: Yeah and being out here in China , seeing everything for myself including the people who are making these things is really refreshing. After all so many people have opinions on China and how the workers are treated and paid. I am pleasantly surprised about how different it is here in Shanghai than I expected. For Sure people seem to work a lot harder and wages are low but everything's also really cheap here and I see the same standard of living here as most other places I've been. They're happy to have so much work and no one complains. This show also pushes the dog character which only made rare appearances in the first 6 years.

We found some big walls and so, in a legal way, there's a chance to do a 9m by 6m wall in a cool artistic area. The guys behind my show are Eddi Yip and Ju kai. They are trying to bring this urban art style to Shanghai. The show is in DA-SPACE Gallery ( and they are hoping it will become a beacon to visiting and homeland artists. They're doing this for love not money. It's great to see things growing here. The city is booming and there are comparisons with New York in the 80's (economically and culturally speaking). I can more than recommend coming here. It's as exciting and modern and interesting a city as I have ever been to. Like Blade Runner style!

AS: So it got pushed aside? CZ: Not so much pushed aside, but the 'lad' took centre stage. Only Bob and I drew the dog on special occasions. He was waiting in the wings if you like, ready for the stage call.

AS: Do you ever have a bad day when you just don't want to see the lads? CZ: I always am happy to see those smiling youngsters but sometimes I could use a break from drawing them.

AS: So you rescued him from the pound then? CZ: Yeah ha ha. But seriously I'm trying to get back to the original things that I wanted to do with The London Police in the first place. It's a shame that it didn't work out with the other guys but it wasn't through lack of me trying. I shared everything I had for nothing but it just didn't work. At the same time it has now given me an opportunity to try and do things my way. Incidentally Bob still features his new artwork through a link on the TLP website. His hand drawings and computer drawing s of city scapes are simply amazing. We're still hoping to collaborate on future canvasses. Garrett doesn't speak with me anymore but by the time we split our friendship and communication was pretty much over anyway. I don't miss him or his input although for sure without those two guys TLP is a much less talented and less diverse police force! AS: So do you plan on putting stuff up in China? CZ: I've been here for one week of a three week trip and the climate is good. I've been doing a few pieces in the neighbourhood on places that I don't think are hurting anyone. There's literally NOTHING here yet. I've heard there's a few places where some tags exist! In this incredible city. It's so big it's unbelievable. Including the suburbs we're talking 30 million people! Democracy is still relatively young here the youngsters are not educated to free their minds (although the new generation are of course taking western influences and applying them to their culture). The Chinese graff artists here are happy to meet me and there are a few European guys who are keen to make some stuff too. It's a lot of fun so far and once the security guard or cop sees my milky English face they pretty much run away... very strange.

AS: The lads probably need a break too. CZ: The lads need a break, of course they do, they're youngsters. And also, at the end of the day, I think it's important to take a break from anything. I think it's very boring to see something on the street all the time. It's much nicer when it disappears for a bit. People start to say “Where's that gone? That guys stopped? What's happening?” then suddenly boosh, it's back in your face again… it's been developed again that extra bit that makes it interesting. AS: So finally, what's the story with CZ: Well the website has been down for like a year. Our first website, which was really nicely designed by Garett wasn't the kind of website you could return to. You saw it once you'd seen it all and it was very difficult for us to update. So it was time to take a break for a while. The last few months I'm working with Adam “Susan” Clark who is highly skilled in making sites. He's a childhood friend too and that helps as we will start this new website as a team. It won't be like Wooster where you go and see it every day, but hopefully once a month things will change; new topics will be written about and I will be able to update it myself. And so I'm hoping that half way through this year it will be, for me, the beginning of a new era for The London Police. I've recently moved into a new house with a studio built in. I was pretty much homeless or travelling for the past 8 years only settling for small periods in highly priced rented accommodation. Now I'm married and finally in a house I have more time to work on TLP stuff. Time to work on my ideas and paintings as oppose to a constant world tour of bombing and shows. Its so much fun but sometimes it doesn't leave you time to grow. I hope to take care of that this year. It's gonna be a good year.

Previous page. Various walls, Chaz at work. This page. TLP all over the world.



{THS} is the name under which German Thomas Schostok creates his non-compromising art and designs. Multi-disciplined and multifaceted he generally throws caution to the wind in the pursuit of creating something truly unique. He prefers to make his own way through this world, choosing never to play the game in the pursuit of money, happiness comes first. Judging by the size of his sketchbooks though the incredible scale of his output is just the tip of the iceberg that lies within. There is nothing Thomas doesn’t seem to throw his hand to; paintings, fonts, clothing, graphics, Beast magazine, etc. have all come from this remarkable individual yet still he finds time to proclaim his love of all things Elvis and Barry White. So, best you snuggle in and let’s get it on... Text and interview by Richard Seabrooke.

Left to right. Gluebooks, ‘Trash Ja’ photobook & THS skateboards

01. Explain your work in less than 10 words... Trash urban warfare porn dirt style pop. 02. Print / Web / Art / Fonts / Exhibitions / Apparel / Merchandise / Toys / Gluebooks / etc. Why do you feel you need to use some many media in order to do your work, what is it about this truly multimedia that interest you? Every media has it’s advantages and disadvantages. I think its a challenge to work on different media. I also think that the work on each media is part of the art. It’s not the finished piece of art that it’s important. The process of making art is important. Working with wood is slightly different as working on canvas, different techniques are required. It’s a challenge and that’s the “fun”. 03. Do you have a common approach to all your work or does your approach depend on the brief of each job? That’s a good question, I never thought about it. Well, I think I have two »concepts«. Either I start to create the content (or name it foreground) and then create a background that fits to the content or I first have a background in mind, create it and then think about the content and how to fit it onto the background. 04. Where do you get your inspiration from? I have the irrepressible impulse to work, to create. I can’t explain it. It doesn’t stop. If I make a pause and not be creative I get into a bad mood. I think doing nothing is my biggest inspiration. I don’t know where my ideas come from. They are just there, coming into my mind, I can’t control it. >>

This page. THS vs The King.

This page. Various canvas artworks never seen before.

This page. Various Beast pdf magazine covers. Download at

Left. Various THS paintings. Right. ‘Titel’.

05. Your style of work is also very adaptable, going from hard clean lines to distressed, photographic to typographic, etc. with every other style in between. What would you say helps you to maintain an open mind and ability to apply yourself to these many visual treatment styles? What are the most important things to achieve within a finished piece? I can’t decide which style I like. That might be »the drive« to experiment with every possible style. I like the silence that a white piece of paper with just some words on it gives me. But I also like it when everything is full with color or something that screams when »dirt« is all over. If I’m working on a design I focus on one thing: a finished piece has to answer the question: "How I am?" in a visual way. For example, if it’s a cover for a band, it has to tell me how I feeling if I’m listening to the music. It’s something that works pretty well, If you don’t know how to start a design. 06. Your work is quite equally balanced between personal and commercial. Why do you think it's important to have both? Personal work is very important. It’s something that really pushes you! Most people haven’t the ability to get very experimental in their commercial work, so personal work is the only way to develop. 33% of everyones work should be personal. The things you learned by working on personal projects will improve your skills and might come in handy for your commercial work. You see things quite different then. 07. Career highlights so far? Future ambitions? Dream jobs/collaborations? My career highlight was to quit my job for the design agency I worked for. I have one dream: I really want to work for an advertising for sanitary napkins or detergents. >>

08. Over the years you have designed a great portfolio of fonts which you have now decided to release to the world. How did your interest in producing fonts come about? Secondly, is it strange to see your fonts on other pieces of work done by other people, especially when out of the original context you maybe had in your head? (Jonathan Barnbrook once said to me he has aghaust when he saw one of his classic English fonts being used to sell sanitary towels). I remember I worked for a design agency about 10 years ago. I had to design a logo... Well, I saw a font somewhere that exactly fits to the project. The bad thing was, we hadn’t the budget to buy the font. So I started to to get into the whole thing of font creation. I created a font similar to the font I saw. Later I started to create fonts for projects, because I was in need of a font that wasn’t available - I had something special in mind. Nowadays it’s the same. If I’m in need of a special font for a project, I start to create one. Just the letters I really need, and sometimes - later - I finish the font and sell it. The making of fonts is also something very relaxing. All those vector points, lines, boxes. Working on kerning and spacing is something that takes concentration and silence. Thats just something wonderful. :) I’m always excited if I see that people use one of my fonts. I lately saw the surf documentation ‘Riding Giants’. They used one of my fonts for the title design. I was really surprised. You sit in a cinema, see the title and think wow! On the other side, I lately saw the use of my font for a musical event in germany. The musical event was more a event that animates people to drink as much as possible. Haha, well and the design of the flyer for that event was one of the baddest designs I every saw. Terrible stuff. I could scream If I see something like that. But I can’t change it. I have to deal with it and respect that there are people out there who are not aware of good and bad use of a font. 09. You seem to have done it all (or most of it) already. What is the future for THS, where do you see yourself going in the future? More, more, more. 10. Any obsessions or impulsions you'd like to share... I hear too much music from Elvis. I mean, really too much. Sometimes I don’t know which other music is popular at the moment. It’s terrible on the one side, but on the other side, I can’t work without the music from the King. It’s some sort of background noise that if it’s not there, I can’t concentrate. It’s like a drug, more, like food. That’s really something that I’m afraid of.

Left 2. Flyer back and front. Right. ‘Cula Shoes’.

Tim Biskup.

This page. ‘Golden Plague’

Tim Biskup.

After spending a long tiring day hiking through the California Hills conducting this interview, Tim brought me to a spot overlooking what locals call Devil's Horn Valley. We had a few beers and slept for a while. Then I had the most amazing dream... In it I had my very own Tim Biskup. I brought him everywhere with me showing him off to friends and getting him to draw pictures of my enemies. We would spend mornings designing toys together and the evenings painting. It was thrilling. When we woke, the sun was setting over the valley and I knew I had a plane to catch. We took it in for a few more minutes and then without a word to each other we walked back to the car. Text and interview by BrenB. This page. Biskup products.

This page (clockwise from left). ‘Helper Dragon’, ‘Yeti Pass’, ‘Woo’ & Studio.

Left. Various illustrations. Right. ‘Butcher’.

BRENB: Have you ever been approached by anyone to make your life into a Reality TV Show? TIM BISKUP: Nope. BB: No, have you ever approached anyone about making your life into a Reality TV Show? TB: No. BB: No, shit, have you ever approached me about making someone's... never mind sorry, could you just tell us about what a day in the life of Tim Biskup is like? TB: Well, it’s not really very reality TV worthy, but here’s the scoop. I get up & clean my guns, then I make myself a few pots of coffee... By the third pot I start to get a little twitchy, so I take the edge off with some bourbon. If I make it to noon without blacking out I throw myself a little party & pull out the paintbrush... Blah, blah, blah... Then I do some ballet dancing with my little girl. We dress up like fairies & fly around the house for about an hour. I sit her down in front of the TV & answer email for the rest of the day. The wife comes home at some point. We play a little game I like to call Pitch-Black Whiffle Ball. One of us usually gets hurt & then it’s off to my shed behind the house to sleep it off. Boring, eh?

BB: Did any of your teachers in High School ever catch you doodling in your notebook during class? Then throw you out screaming at you that you could never make a career out of Art? And did you go to your School Reunion and lord it over them, turning down a chance to score with the now aging and most likely alcoholic Prom Queen in the process? TB: Fuck, man, where you there? BB: How do you keep track of all the projects you are working on, what with the Paintings, Illustrations, Toys, Coasters, T-Shirts, Stationary, etc? Do you have a huge wall chart, a photographic memory or a team of crack admin girls? TB: I was good at keeping track of it all for a while, but now it’s just too much. I have a great assistant & a calendar program on my Mac. I still feel like I’m always dropping the ball. I really need to just say “No” more. The opportunities that I get lately are so great, though... I can’t pass that shit up.

Top. Limited edition art prints, only 10 of each available. More at

BB: You must have to turn work down now? When you tell them you haven't the time, do they wait until you are free? Surely it wasn't always like that, can you tell us something about what it was like when you started out and maybe how you got to the point now where you are screening calls from commissioning editors? TB: It’s a whole new world these days. I used to take everything that came along, then I got to the point that I only took on the stuff that I really wanted to do. Then I had to start turning down some of the good projects. Now I don’t give out my number & I have an assistant that screens my emails. It’s crazy. The really great thing is that I get to think up projects that are exactly what I want to do & then I just go & pitch them to the people that I want to work with. BB: Do you find inspiration and ideas everywhere or do you have a pouch of fairy dust in your jacket pocket that you can sprinkle whenever you need it? TB: By “fairy dust” you mean “angel dust”, right? Really, though, I get inspired by different things at different times. I’m reading all about the Salem Witch Trials, right now & that’s getting my brain going for my show in Barcelona in July. It’s called American Cyclops. It’s all about religion & politics. >>

Previous page. Various illustrations. This page (left & right). Ultra rare Qee Deco Armageddon Set. More information at Centre. Biskup stack toys.

Top. ‘Black Helium’. Bottom. Biskup ‘100 Paintings’ details.

Clockwise fom bottom left. ‘Stack Pack’, ‘Big Totem’, Acidhead Dunny & ‘Executioner’

Clockwise fom top left. ‘Great ghost walk 2’, ‘The Animation Show’ poster, postcard illustration & ‘Great ghost walk 1’.

BB: Before I can draw I have my partner hide an unpeeled banana somewhere in the studio, not too close but enough that I can get the odour intermittently. I find knowing it's there can make a tremendous difference. Do you have any rituals that help when you are working? TB: I do the same thing with a cat turd. It’s very comforting. BB: Your Toy Designs are amazing but surely you can't be hand painting each one? How does that work, it must take years!? Can't you do it on computers, maybe use a template or something? TB: Every one is different. Most of them I do by hand. Some designs are very graphic & simple. Those ones I can just do in Illustrator & send a file. Some are done with airbrush & other techniques that you can’t really do very easily on a computer. I usually paint a master by hand & then send it off to China.

BB: Apart from Ireland what's your favourite foreign country and why? I might have to disqualify Japan too unless your reasons mention something else as well as the toys! TB: Damn, I’m so predictable. Japan is great because it is just so totally different than the US. I love it there. I really love Italy, too. I’m sorry to say that I’ve never been to Ireland. Steven Stapleton lives there, so there’s one good thing about it. I’m 1/4 Irish so it’s probably a good idea for me to go over there & sample your whiskey.. BB: When Acme eventually releases a mass-market Time Machine T what period of design history would you set the dial for? And what period would you just break off the dial, cos there ain't no stinkin' way you'd go back there? TB: I’d go back to the 40s & stick around for about 20 years. I’d spend all of my time stealing originals off of peoples desks & probably fuck the whole future up for everyone. I’d like to flush most of the 70s down the toilet. BB: Do you ever daydream about your professional future? If yes, what do you imagine it will be like? TB: I just want to keep making things & for people to keep buying them so I can make more. If that’s the case it will be great & I’ll stay happy forever.

Previous page. Various illustrations. This page (clockwise from left). Postcards, ‘Virtue’, ‘Ghonner front’, ‘Hamlet’ & ‘Ghooner in state’.

Clockwise from left. ‘Plasma switch’, ‘Mutation on the bounty’, ‘Tomorrowland man’, ‘Partyworm’ & ‘Pencil fight Ghonner.

This page clockwise from left. ‘Helper power 1’, Calli’s, ‘Butcher 7’ & Polska Cyclops Egg Qee from Toy2R. Next page. Various illustrations.

Trevor Jackson.

For many years Trevor Jackson has been an inspiration to many people but they probably never knew in how many ways they were exposed to his incredible work. Graphically he is known for his hugely influential design work done by himself but also while at the hugely influential Bite It studio but this is but one string on a heavily strung bow. At night this creative chameleon turns into one of the most respected dj/producers around. His Playgroup project is truely cutting edge, so much so that his now gets requests to remix just about every dancefloor stormer about to drop. He is also heavily involved both musically and visually in the releases of the influential Output Recordings. To think that one man can create so much work you'd be forgiven for thinking something would have to be compromised, first of all quality. But no, with unbelievable consistency and passion Trevor produces exceptional work that never fails to deliver. The man with the Midas touch. Text and interview by Richard Seabrooke.

Previous page: Trevor Jackson. Art direction by Trevor Jackson Photography by James Dimmock, 2001.

This page. PM Dawn ‘A watchers point of view’. 12" single, Island Records, 1991. Royal House ‘Yeah Buddy’. 12" single front & back, Champion Records, 1988. MC Tunes ‘The north at it’s heights’. Lp cover front & back, ZTT Records, 1990. Heliocentric world - spiritual sky 12" single, Black Market Records, 1993.

‘Mamboworld’. Poster for Mambo, 1992. S-Express ‘Theme from S-Express’. 7" single, Rhythm King Records, 1988. Brotherhood ‘Alphabetical response’. 12" promotional single, Bite it! / Virgin Records, 1995. Original photography by Donald Christie. Image manipulation by Trevor Jackson. Raze ‘Break 4 Love’. 12" single, Champion Records, 1988.

Brothers like outlaw, ‘The oness of two minds in unison’. Lp cover front & back, Gee Street / Island Records, 1992 Raze ‘Caught me cheatin'’. 12" single front & back cover. Champion Records, 1988 Network Records housebag. 12" single front & back. Network records, 1994. 7-Hurtz ‘Audiophiliac’ LP cover. Output Recordings Limited, 1999. Photography by Donald Christie. Bass Records housebag. 12" single front & back. Champion Records, 1989.

Soulwax ’Any minute now’. Album cover, Pias, 2004. Soulwax ‘Nite versions’. CD packshot, Pias, 2005. Soulwax ’Any minute now’. CD cover, Pias, 2004. Soulwax ’Any minute now’. 12" single, Pias, 2004. Soulwax ’NY Excuse’. 12" single, Pias, 2005. Soulwax ’E-Talking’. 12" single, Pias, 2005.

This page (clockwise left to right). Playgroup ‘Playgroup’. LP cover, Source / Virgin, 2001. Created with Warren du Prez & Nick Thornton Jones.

Playgroup ‘Number One’. 12" promotional single, Source / Virgin, 2001. Created with Warren du Prez & Nick Thornton Jones.

Playgroup ‘Number One’. Single cover, Source / Virgin, 2001. Created with Warren du Prez & Nick Thornton Jones.

Playgroup ‘Make it happen’ reissue. 12" single, Playgroup / Output recordings Ltd. 2003. Photography by Donald Christie.

Playgroup ‘Make It Happen’ 12" promotional & commercial single, Source / Virgin, 2000. Illustration by Guy Peealeart.

01. Trevor Jackson the creative. Care to tell us all the many sides of it? i get bored very easily, and have the arrogant yet profound belief that anything i feel creatively passionately about i have the ability to excel in. this along with my slightly insecure constantly self criticising psyche and anally perfectionist nature makes me a somewhat complex individual. i studied general art and design and then specialised in graphics, eventually forming my own design company in 1988 called BITE IT!. working on mainly independent club & hip hop releases and having a strong interest in music led me to start djing and producing which eventually became my main career around 1992 when i also started a uk hip hop label called BITE IT! RECORDINGS. becoming bored with most of the design work offered i spent most of the next decade creating graphics for my own projects whilst also producing and remixing as the UNDERDOG starting a new label in 1996 called OUTPUT and ultimately forming my own act PLAYGROUP. in 2001. since then i have continued remixing as PLAYGROUP as well as djing around the world, and begun to work on outside design projects again. my artwork for the soulwax any minute now campaign won a D&AD nomination, creative review best in book and also the prestigious tokyo TDC typography award. 02. What is it about all these many media that are important for you to maintain? Being a graphic designer by education are there things you sometimes need to say but design doesn't allow? i approach the many different mediums in a similar way, solve the brief and communicate a simple and strong idea in the most unique way possible. i have never felt restricted to any one thing and my education as a graphic designer mainly taught me the ability to communicate and form my ideas. i am very fortunate that many of my projects are self initiated so i can say whatever i want to say or actually create a project solely for the purpose of a showcasing a personal concept or point of view. 03. Influences and heroes? too many to mention, most of them current clichĂŠ's or some so obtusely underground that i would look like a pretentious fool mentioning them. but if forced i would have to mention barney bubbles, oskar fischinger and paul rand as the three most important.

04. As Playgroup you have the ability to talk to a different, yet equally educated audience, through a different medium. What do you define as important within your music, why do you believe it has been so successful? the most important thing within my music is solely to make something that i am totally happy with, it’s not necessarily my main aim to make music that people will like. i don't need to satisfy anyone else. i still have the same rigorous quality control but ultimately and selfishly want an end result that i feel represents only me. beyond my own satisfaction the aim was to create a project that bridged the overground and underground driven by a strong concept and individual sense of style, i didn't (and still don't) want to be perceived as a part of any particular scene or sound, and strived to try and create my own identity i was fortunate enough to be signed to a major label who were capable of funding all the ideas that i had, and i think at the end of the day this gave me the opportunity to take playgroup into the mainstream. i think its been successful because the uk has been lacking contemporary artists that have a strong visual identity and an intelligent creative approach to releasing music, and the market place and industry is so lacking in fresh ideas, that anyone who dares to make that extra effort will be noticed. i have a really diverse following, and this reflects the diverse musical approaches of the record. 05. You seem to take on projects that you have complete creative control (Output) or have a very strong lead role within (Soulwax). What do you look for in a potential job before you agree to take it on? Is there any work you've turned down? Why? i feel happiest working on projects that i feel totally passionate about and know that i have enough respect from the client that they will give me the freedom to deliver something powerful that will work outside of the norm. my work is my life and take everything i do incredibly seriously, i hope this translates to my clients who trust me to do the very best for them. i actually don't get offered that much work, and seek out most of the jobs i want to do myself. its unfortunate but it seems that the more exposure i get the less work comes my way. its incredibly frustrating, and assume that people think that i am either a: to busy or b: to expensive to work with. this forces me to either create work for myself or take on projects from people that are close to me. i would only turn down work if i felt that morally i didn't agree with the client or product.

06. What do you think are the key things to remember when taking on and solving a brief? be passionate, try to follow your own path, avoid current styles and never be scared to try a totally new approach. 07. In all of your work you must get to meet the world's creative elite which makes this question so interesting. Career highlights so far? Future ambitions? Dream jobs/collaborations? my career highlight was winning the tokyo tdc for my soulwax campaign and travelling to tokyo to accept the award, meeting and being accepted by the elite of japans graphic design community was the climax of a lifelong dream, and finally travelling to japan, whose explosive visual culture and balanced aesthetics i had embraced from an early age, will leave me with memories i will never forget. my future ambitions would be to break away from my music work and collaborate with people in many other fields. i think i have been fortunate enough cut my teeth on the very best of cutting edge culture over the past 20 years but have failed to place this knowledge into larger more challenging projects, the next few years will hopefully give me that chance. i am planning an audio visual show which is a fusion of a cinema, club and installation experience, new technology is a huge inspiration to me right now, and the amount of development in the visual arts is incredible, i finally have a chance to do many things i only dreamt of a few years ago, and these should see the light of day later this year. my dream job would be creating the new olympic mascot. 08. Someone takes away your creative powers, you have to do something else. What do you reckon you'd end up doing? i would spend all my time reading, watching films, playing video games and eating, and try to find a way to get paid for it 09. Any obsessions or impulsions you'd like to share... i can't walk by a record store without buying a record. a bakers without eating a cake or go to sleep at night without at least 30 minutes on ebay. i hate to walk on cracks on the pavement, never get in a lift that doesn't contain a mirror, leave the house without matching socks and absolutely refuse to drink coca cola out of anything but a glass bottle.

Creative review self portrait, 2006.

Icarus ‘UL6’. 12" singles, Limited edition of 1000 hand destroyed sleeves. Output Recordings Limited, 1998.

Gramme ‘Pre Release’. 12" single, Output Recordings Limited, 1997. Photography by Donald Christie.

Stereo MC's ‘Lost in music’. 12" single inner bag, Island Records, 1991. Photography by Juergen Teller.

Clockwide from left.

Ouput Recordings promo sleeves. 12" screen printed records, Output Recordings Limited, 2003 Channel 2 ‘A compilation of Output Recordings’. CD front & back packshots, Output Recordings Limited, 2003.

Dead Combo ‘You don't look so good’. 12" single front & back, Output Recordings Limited, 2004. Photography by Donald Christie. Mu ‘Paris Hilton’. 12" single front & back, Output Recordings Limited, 2005.

Top. Music is beautiful logo. Soph, 2005.

Bottom row (left to right). Stereo MC's ‘33/45/78’. Lp cover & inner, Gee Street / Island Records, 1989.

Four Tet ‘Glasshead’. 12" single wrapped in custom printed tape. Output Recordings Limited, 1999. Photography by Jason Evans.

Fridge ‘Seven's and Twelves’. CD packshot, screenprinted crystal case, Output Recordings Limited, 1998.

Fridge ‘Lign’. 12" & 7" interlocking singles, Output Recordings Limited, 1998.

The Rapture ‘Echoes’. CD cover, Vertigo / DFA / Output Recordings, 2004. Original photography by Kevin Westernberg. Image manipulation by Trevor Jackson. The Rapture ‘Echoes’. CD booklet, Vertigo / DFA / Output Recordings, 2004. Original photography by Donald Christie. Image manipulation by Trevor Jackson. Skull ‘Snapz’. 12" ep front & back, Output Recordings Limited, 1999. Photography by Jason Evans. Lewis Parker ‘Rise’. 12" single front & back, Bite It! Recordings Limited, 1996. Photography by Donald Christie. 100% Proof ‘Different Neighbourhood’. 12" single front & back Bite it! Recordings Limited, 1992. Photography by Donald Christie. Next page. Fact magazine cover, 2005.


Okay, so eBay has become far too oversubcribed for my liking, what with people trying to make a quick buck to others scrambling to pay way over the odds for items which will be tomorrow's junk, but what I've noticed recently is there seems to be a niche online art movement developing amongst it. While trawling one day I happened to stumble upon a Canadian shopsite which was selling really cool limited original works and the one's that were consistently catching my eye were by a guy who goes under the moniker of Wrongwroks. Taking contemporary cultural iconography and remixing them for his own pleasure he's developed his own take on what our society looks like at the moment. Whether he's kitting out classic cartoon characters with killer kicks or lifting classic corporate marques and giving them the once over, Wrongwroks' creations add another level to the landscape of logos that surround us in our daily lives.

This page. ‘Kate Moss’

Text and interview by Richard Seabrooke.

01. How long you have been creating work? How did you get into it? I have been doing this kind of "art" since i think back to 2002, i was attending the Emily Carr Institute of Art and design in vancouver, Granville island, Canada. I was actually not even in the art programme, i was in the Communication design school and i still remember one day, my friend Ryan said he just learned silkscreen and i was so excited, and then we sneaked into the studio after school when there is nobody there, and we start playing with the screen and some weird images... And then i was addicted into the silkscreen thing, i start printing the same images on different paper and even different mediums, like plastic, cardboard, boxes, and later that's how i get printing on FEDEX boxes, coz i think they are free and i found they are really well made, and i love to use such mediums to do my art, and i start the first series of Fedex art work... 02. How would you define your work? hmmm... it's hard to define my work myself. But most magazine or my audience will call my kind of art as "Neo-Pop" and call me "Neo-pop graphic artist", i guess because my works is like pop art but not really and (well i didn't make the same image repeat and repeat LOL) the topic and story behind is kinda like the SUPERFLAT (by Takashi Murakami) group, which is about our everyday life and the addiction to the Japanese subculture which bombarded our brain in our everyday life, not just in japan but in North america, UK, and Hong Kong etc. We are think "Hey, Japanese is cool!" And they add the name "Graphic" i guess because you can see a very heavy "graphic" (that's what they call graphic-design" it's kinda lame i think but well that's what they communicate when they need to use this term to describe some sort of "style") and because i graduated from "communication design" , it does reveal some or lots graphic/design style in i do like what they call me "Neo-Pop Graphic artist" . =)

03. What and who (if any) would you define as influences on the work you do? Where do you get your inspiration? I normally don't like to read design magazine, like those communication arts or any kinds of design magazine or annual, i hate those, i think those are very boring and i don't know, i just not into it. Well, i like to go to magazine store and flip through art, fashion magazine, sometimes like to read giant robot or juxtapose, theme, lemon, and some Asian art magazine like from Allrightsreserved, or some even not art related books, i just like to read anything that interested me, not necessary art related, i just follow my passion...or my mind... I do like Andy Warhol's just very interested when u first seeing his work from school or library... in the contemporary ones, i like Barry McGee, Margaret Kilgallen, (the way they composite the image and fonts are very pretty and stunning), KAWS, WK INTERACT, Takashi Murakami, Groovisions...Not necessary artist to influence me, Bathing ape (the crazy clothing brand) does influenced me too, the way he made the clothes, their style, the pattern, how he run the business and all this are actually driving me into him more and more...i get inspired by anything, and i believe inspiration not come from magazines or books or anything we think we can get from, it comes from everyday life, it can be from the street, when u talk to someone? when u glanced other people's book cover when u on the bus? when u going to the washroom? it comes when u don't expecting.

04. Your work is very mixed media in that you have so set way of realising the final result, is this intentional or just the way it's turned out? Either way, do you enjoy the challenge in turning your ideas into reality through different mediums? What's been the most difficult process so far? it's very interesting question!!! I can see u do look into my work! Everytime i prepare or think about a new project, it normally comes to me either the theme or the image first, for example, the last supper print, it's been used and re-created for like million times, but i can say the one i did is very unique and bring out another level of meaning to the audience, it's something about the dinner that we need to think about or like "what if you are Judas and eating with jesus alone?" not like other art work, people trying to replace Disney characters or other images that sit like them, it's just mocking the original without thinking deeply, like "hm, what I'm trying to say or what u want the audience to see in this piece" and sometimes it comes with the images first, for example the new kate moss one, i first have the idea of Kate Moss, and i was thinking i want to say something about her, its just bad and like death, and i used some skull and a target sign, well u can say it does look very cool and strong at the end, coz i did plan that out, it might just because my "graphic" sense that i learn from the school and well it does look cool and saying something from the medium... i do very enjoy what the end result and, sometimes it fail and it doesn't look like what i expected and i just throw it away... doing stuff on different medium is one of the most interesting things to do in the progress... coz after the print on paper part, sometimes i will print on t-shirt or hoodies it's like one of the thing it sells that make my living rights? and i will start playing in my studio, i did fedex boxes, DHL boxes, purculator envelope, Starbucks coffee cups, tide boxes, converse sneakers... tubes... Bearbricks, any stuff that i like to see what happen with my things on it, i will do it... nothing really difficult so far... its either work out or not, if not and screw i will just throw away and work on other things...

05. In lots of your work you take very well known classic characters and give them a contemporary twist. What is it about this style of work that's so appealing to you, what do you hope to achieve through this work? hm. another good question, your question is very challenging too. haha, it's one of the most difficult process so far... =P well... my work’s is about everyday life, it's not something out of my mind, it's like oh i see last supper and i saw other stories beside whatever its already said. so i made another piece of called "Jesus and Judas" it basically look like the same thing but its something else, and i like to tell more in my title, like "Jesus and Judas" , " What if it’s just look cool?" ( a series that is just about graphics, i made something up without a meaning but just look very cool and that's been the most successful piece so far... beside the DRESS OR DIED series... that i did from last xmas...) "Dress or died" it's just about a whole bunch of well known characters from japan, that is no faces seen (well for some "reason") and for the main reason, its because the focus is on their kicks, i made them wear all different crazy kicks, and that's the focus, and that's what i want to say that SNEAKERS is very crazy these days, and how do i really present this "idea", i will think, "oh well, what if even characters wear kicks in their world!?" , that will be crazy, and that craziness will be about the same idea that i want to tell... so most likely i like to tell or express some ideas or stories through some "familiar" mediums or sometimes i do created something that is unseen and trying to bring the "twist" over the border... >>

This page (Clockwise from left). ‘This is not art’ poster, DHL & FedEx box customs, ‘Pink canvas’ & ‘But-Beautiful’.

This page. ‘Dress or die’ screenprints.

This page (Clockwise from top left). ‘Nescafe2’, ‘Twins 2’, ‘Skate’ series.

This page (Clockwise from top left). ‘Storm-Adidas’, Adidas screenprint boxes, Superstar screenprints & Wrongwroks camo patterns.

06. Visualising and remixing both western and asian cultural imagery is also something that you seem to have at the core of your work. What inspires you when approaching a piece of work, where does the original idea come from and what leads to do one piece over another? Its something that i answered in the previous questions, but about the east and west thing, because i was bought up in HK, where originally a east-west place (well now it's a totally east-east place) and then i immigrated to vancouver when i was in high school... but even though i live in vancouver, i do always reading asian's magazines, japanese magazines, videos music videos, anything that from the east that is more interesting i think... but i have my art school in the west, so i guess that's why my stuff are mixing up... i didn't try to do that in purpose, i dun think the idea of EAST meets WEST is cool anymore it's so outdated...

07. A lot of your work seems to be for big exhibitions. What, over say client work, does this freedom bring to your work? Any plans for upcoming exhibitions? it does have a lot of freedom. I have worked in the biggest design company in HK, or in vancouver. What I have experienced is that working for clients ain't that of a fun because some clients are quite selfcentred or awful to satisfy. However, clients' satisfactions must be placed in the first priority. So working for clients then had a limitation to free ideas or my way of style. So, I quit the job. I start working as a freelancing artist which give me a bigger chance to express myself. i like to have exhibitions, i think that is the only way that i can show my work and communicate with the audience, i mean, yeah, internet is very helpful and fast but the show is not really "realistic" and it just shortcut to seeing my stuff so i like to have REAL exhibit where people can come and look at my stuff and if they like it, they can buy it and put at their studios or workplace, i have clients come to me and i do work for installation for his offices, or even works for installation in some design firms... it's funny coz people who bought my stuff , some of them are artist and designers too... most of my clients are from UK, France, Germany, USA, Japan... nobody from vancouver, or HK, very funny... for upcoming exhibits, so far not really have time to plan an exhibit coz i will be doing a collaboration with COOLESTSHOP and Highsnobiety this month , just some prints and clothes... and a identity for a sneaker shop in UK, and some other up coming projects later...

This page. ‘Nescafe 1’ & exhibition detail.

08. Heroes... depends in which field... but its like who influenced me.. also my mentor Alan, he did teach me lots of things before i get to art school... 09. What's your plans for the future? trying to work with other people in this area or even other area, more collaboration, more fun projects and make more arts... that's my kind of so called "plan" but who knows what might happen... 10. Any obsessions or impulsions you'd like to share? its a very good issue for me to be in, LOL, coz I'm a very obsessive person and also very impulsive... like.. shopping, i like to shop a lots, (you might start to see me differently coz i do work like an artist but I'm just like every other 20 something guy..) like to shop and explore... I collect lots of art work from Kaws, Barry McGee, Takashi Murakami, I collect lots of toys too... and all these happen coz of the impulsive actions... SHOP! (well i guess it's the consequences... like because you are so impulsive and so u will be obsessed...

This page. Various Wrongwroks merchandise.

This page (Clockwise from top left). ‘2 Girl’, ‘Fragile’, Chicago show poster, ‘What If ’ series.



SEA & Rankin for Blanka.

Vestax portable turntable.

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The second poster in the continuing Blanka series, 'Eye Candy' is the result of a collaboration between SweetTalkers Sea Design and the legendary Rankin. Printed in an edition of 100 screen printed gold on black with gold foil blocking:

Okay, so it's not as compact as an iPod but man this would perk up any picnic and put some rock in any garden! Produced by Vestax this portable turntable works on batteries so it means wherever you go your vinyl can come too. Breakdancing on a bowling green anyone??

and a much more limited edition of 25 screen printed gold on gold with gold foil blocking:


Wayne Daly ‘Poster Twosome’.

Bound to sell out so get your speak in quick.


------------------------------TADO for Mimobot. Top right. Without a doubt the best looking usb keys on the market, Tado romp home with their 'Hero' version which comes in a range of memory sizes. Amazing attention to detail (would you expect anything else from Mike and Katie?) and pinsharp printing make this a must have. Oh, and you can put into your 'puter... Yeah, like that'll happen!! /


Produced in a limited edition of 50 sets, these A2 poster sets come as a couple. The first poster, which comes with every set, is a full colour A2 digital print detailing an experiment where the phrase 'I LOVE YOU' is passed through translation software, with unexpected and often ludicrous results. The second poster in each set will be one of five A2 typographic variations of these mistranslations (each one produced in an extra-limited edition of 10), printed on a high quality inkjet. The black 'seal' which appears on all posters is the ancient MesoAmerican symbol for the heart. Each set of two posters is priced UK £7, EU10, $12 (incl. postage). The sets are a limited edition of 50. Contact for more information.


------------------------------The Royal Magazine. Right. Another exceptional magazine run by extremelt passionate people, including an Irish girl who’s name escapes me right now, get yourself over to and download some of the sweetness that is Royal right now... Go...

------------------------------Kaws Companion Pushead. Bottom. Available in a range of colours including our favourite glow in the dark version. Not that we’ll probably ever see one glow as these get snapped up sooner than you can say floccinoccinihipilification. Okay, so that’ll take a while but you know what we mean... Best get a sleeping bag and sleep out at





The Queen gets D*Faced.

Colette Alphonzo Qee.

Refill Issue 5.

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Yes it’s her 80th birthday this year but D*Face has had a look into the future with his limited edition long-sincegone screenprint which is destined to become a classic.. Already is really...

One of our favorite printed magazines, Australian Refill has just released issue 5 and it’s a monster. Interviews, images, lovely gifts and some of the best foil finishing we’ve ever seen make for a likely dent in your wallet...







Dot Com Refugees from Airside.


Lab of the Gods tees from Airside.

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You may never be able to get rid of fouls from football but Mark from Blanka has been beavering away removing the vowels from his soon to become iconic tees, produced just in time for the upcoming World Cup. When we first heard the idea we weren’t too sure whether he could pull it off but WOW, how he has, the results assured to be sported all across the terraces this Summer but also equally at home on those who simply want to exercise a little local pride... £24 per item. Price includes FREE shipping.

The first and second in a continuing 4 piece set of exclusive tees from recent SweetTalkers Airside, Dilip and Ralph are part of the Lab of the Gods. We’ve been assured none of these products have been tested on animals...






















‘El Rey’ shoe by Puma.

Designer Chocolate for charity.

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This season, Puma has brought to the fore, El Rey - classic canvas slip-on pumps with a vulcanized rubber band, in an array of colours with a pinstripe lining, and the ubiquitous Puma cat logo - a great look for easy, pared down Summer dressing.

Chocolate Bar and its neighbor Yoyamart have collaborated to create a line of choc-ographic Artist Bars which debut this week at Chocolate Bar located at 48 Eighth Avenue between Jane & Horatio Streets. Ten designers including Gary Baseman, Nathan Jurevicious, David Horvath, Sun-Min Kim, Rolito, Toy2R, Friends With You, Tim Biskup, Dalek and J.D. Boujnah have created labels for an array of new products of which a portion of the proceeds will benefit Third Street Music Settlement. More info at

Easy to wear, simple, stylish, El Rey looks set to become a classic 'street' style - for those wanting a change from trainers and traditional sportswear, these are more for those who want more from their fashion. Canvas has become an essential Summer wardrobe staple, and with Puma's slick take on the canvas pump, they are unconventional and quirky. Colours for men are: chocolate canvas with orange, black, white, olive canvas and lime, and for women, chocolate canvas with pink, and white canvas with yellow. Look out for tweed styling for Autumn/Winter 2006.

-----------------------Build beachwear. Centre left.

-----------------------Jon Burgerman ZeebZeebs. Bottom right. In plush we trust. Jon unveiled these little puppies at his SweetTalk debut in Dublin and they went a storm with the cooing crowd which snapped them up in no time at all. About to go global get your hands on these suckers by mailing Jon directly...







Dalek Spacebot.

Timothy Saccenti updates his site.

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Inspired by vintage spray paint colors as featured in ALSO KNOWN AS v1, this collection of 7 patent leather Nike Dunk Lo's was created by NIKEiD exclusively for ALSO KNOWN AS and auctioned, with all proceeds going to the Free Arts NYC, an organization dedicated to bringing the healing powers of the arts into the lives of abused, neglected and at-risk children and their families. More at & or see how much was made at /

A Candy favourite since we first stumbled upon his exceptional work Timothy has found time to update his already incredible site with more work that defies comparison.


With a line-up including Scratch Perverts, Superdiscount Live, The Orb, Aim, Carl Craig, Ewan Pearson, Spank Rock and many many more you’d be forgiven for thinking it simply can’t get any better. Well you’d be wrong, Garden Party is on a bank holiday Sunday and held on the lands of a castle in the middle of nowhere... The perfect setting to lose it completely and then pop open the picnic... More at

---------------------------------------Garden Party, Sunday June 4th in Ballinlough Castle, Athboy, Co. Meath, Ireland. Centre bottom.

---------------------------------------Commonwealth Stacks ‘Highlands’ top. Centre bottom.



Candy Competition.

Win £15O worth of exclusive Addict gear. --------------------------------------------------------------------------Yes sir-eeeeee... Matt and the Addict crew have hooked us up with our best competition prize so far... Not only can you get kitted out in some of the most sought after streetstyle but if you pick any items designed by either sheOne or the mighty Swifty (who’s work for Addict is nothing short of incredible) they’ll arrive signed by the artists themselves*, with their own hand, their own markers... em, y’know... So, to win £150 worth of Addict gear off of your choice by emailing the answer to the following simple question to What is the name of the artist that has produced an artist series 5 tee called Original Rockers? Find out at Please include your full name and address and a password 6 or more digits long. Good Luck!!! (*subject to stock availability).




Bill McMullen Shuttlemax & Dunnynaut.

‘Graphics Alive’ book.

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Mark James presents Cardboy Series 2.

Sneakers is the second study of the residents of Cardboard City and pays homage to classic sneaker boxes from the modern era with all the unique packaging and graphic genius of the original CardBoy. This series features eight characters, each one comes with accessories, and packaged in blind boxes, with one limited chase figure. A limited edition 8 pack will also be released, containing all eight characters with the packaging turning into a 200% Sneakers figure. More at

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This book looks at graphics that create relationship with us. It is not only a relationship between audience and the entity, like what we would get from reading a flyer or seeing a poster, but a more intimate relationship with our lives. This relationship encompasses all design disciplines - including graphic design, fashion design, interior design and industrial design, etc.

Most of us can recognize the value of good design in major undertakings such as building a house; few of us give it much thought in our daily items. To a lot of people, design is like a trend, but rather an art of making objects look beautiful. It is true that many designers are going under the trend, however, good design isn’t reliant on anything. ‘Graphics Alive’ brings you to discover this omnipresent power of ‘graphics being alive’ around us. More information at





------------------------------DataPilot. Second on top.

CardBoy, created and designed by graphic artist Mark James, as an answer to the ‘what do you do with the box?’ dilemma, and quickly became the must have designer toy of last year. CardBoy is a unique mini figure that when opened, the packaging transforms into the head of the character...


SweetSounds. This Issue: Jon Averill (Backlash resident, Dublin). -----------------------------------------The Knife - ‘Silent Shout’. Spooky, etheral, wierd! original. Sounds equally good on a dancefloor as it does at home and what's more it makes trance cool again. Actually trance was never cool, it is now.

-----------------------------------------Duoteque - ‘Daki Theta’. (MFA Instrumental Mix) The sound of a computer crashing, with beats. Bleepy, glitchy house music as the MFA put their name to even more quality music.

-----------------------------------------Haircut 100 - ‘Favourite Shirt’. First single from white boy ska rockers from the 80's that were probably a huge influence on the Ordinary Boys, only Haircut 100 were really good and had nothing to do with Big Brother.

-----------------------------------------Ellen Allien, Apparat - ‘Turbo Dreams’. There's some really great electronic music being released at the moment and this track from Ellen Allien & Apparat's collaboration Orchestra of Bubbles is among the best.

-----------------------------------------Digital Circus - ‘So 80's’. Irish brothers Ronan and Col Flynn are tipped for big things but then who isn't these days? This is a monster of a record that’s drowning in melody. Look out for it, it’s... it’s.. it’s so... so 80's!

-----------------------------------------Out Hud - ‘Put It Away, Put It Away, Put It Away Dad’. Dancefloor stormer from the criminally under rated Out Hud

-----------------------------------------Morrissey - ‘Life Is a Pigsty’. The Mozz is back with a a great new album and this track is a lovely slice of cinematic misery with string arrangements by Ennio Morricone.

-----------------------------------------John Tejada - ‘Triad Jack’. No, not me, caught the minimal bug too! this is fantastic with a melody that reminds me of early Orbital tracks.

-----------------------------------------Bizarre Inc - ‘Playing With Knives’. We did an old school night in Backlash a month or so ago and it went right off... boiler suits, glosticks, whistles, Vicks, the lot, this track sums it all up! Check the forum for proof of the carnage.

-----------------------------------------Jon Averill is resident in Backlash, Dublin’s most popular midweek gig which takes place in Rogue on Dame Street every Thursday. He was recently voted Dublin’s third best dj so rather than these selections being golden disks think of them more as bronze... For more information and to blag a mix cd check





The Quiet Life looks to the future.

Colette vs Nike.

Clutter Magazine Anniversary Issue.

The Designers Republic ‘Sissy’.

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One of our favourite clothing labels follows up their Camera Club concept with an equally cool idea, this time... For the Spring/Summer '06 installment of their continuing art-project series The Quiet Life is pleased to issue a two-fer, entitled ‘HERE COMES THE FUTURE....THE FUTURE IS NOW’, a limited-edition combo pack of a t-shirt and a full-length album from Atlanta's own Poo Poodles. More info at /

Word has it that hen’s teeth will be easier to find than these puppies... One can but dream eh??! /

With an exclusive cover design by James Jarvis to celebrate the Amos / Clutter pink King Ken variant this is simply too hot to handle.

One of design’s most enduring icons, Sissy by The Designers Republic, has been produced by hand in ceramic and is available now exclusively through TDR’s site. Guaranteed to live up to her tagline “She’s cute but she’’ kill you!”...










Addict Jago Camo Soldier Goggle.

Diesel Fifty book.

‘Magdalene’ screenprint. Top middle.

Addict Jago Nite Camo Goosedowns.

Joe Ledbetter Trexi & print.

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Size 61 x 45cm. Hand printed on 100% recycled 200gsm natural paper. Signed and numbered.

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Signed up for an upcoming Candy Joe Ledbetter has been working hard on his latest releases with the Trexi crew and the results are exceptional. If that’s not enough for you then get yourself over to his own site and get some of his exclusive prints and apparel...





Will St. Leger ‘Excommunicate’..

Addict present The Nextmen cd.

Rinzen presents ‘In the milky sky’.

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Part of an ongoing series which recently was exhibited in Dublin. Watch out for a full profile in a future Candy. In the meantime, get yourself over to where the pieces are available to buy!

‘Playing The Game’ by The Nextmen is a mix cd released through Addict’s ABC label. It’s a mish mash of reggae, hip hop, r&b etc and the best part about it is it’s FREE! All you gotta do to hook up some sweet Summer sounds is email the kind peeps at Addict and they’ll hook it up. Mail after registering with us at

-----------------------Jon Burgerman Mimobot. Left top.


The second in the Mimobot / Flying Cat series and Jon nails it (as usual). Like the Tado one mentioned earlier it comes in a range of memory sizes but again we say “Like that’s going to used to hold stuff... puh!” /

Diplo / Mad Decent podcasts.


Munny Film Making Competition.

Centre bottom. Diplo & Co. present regular mixes online at

------------------------Centre top. Kidrobot gives budding film makers the opportunity to win some prizes while at the same time having a laugh in the first ever Munny Film Making competition...


------------------------Sonar 2006 in Barcelona. Bottom right. It’s our 5th year in a row hitting Barcelona for Sonar and, as usual, we can’t wait to get there to enjoy the wights, sounds and sun that are all part and parcel of one of the best festivals in the world. With guests like Hot Chip, Goldfrapp, Ryuichi Sakamoto, Diplo, Tiga, Miss Kittin, Ugly Duckling, Audion, Richie Hawtin, Sasha playing and more audio and visual treats than you could ever handle, this year looks set to be as successful as previous year’s sell-outs...





The Kebab Twins.

Daft Punk Kubricks.

Co-Op magazine reaches Volume 2.

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‘Just for Kicks’.

Vans go Camo.

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The second volume of Co-op will be comprised of seven issues, each one representing a day of the week. For the first issue – the Monday issue – contributors were asked to produce a piece of work based on the day Monday 8th August 2005. We wanted their unique perspective of this day. The intention of this volume is not to build a sequence of ‘diary entries’, but rather to explore how each of the days in question can be captured in unexpected and diverse ways. The issues will serve as documents of their respective days. More at






Limited Edition prints from Rumbero & Hypnoteis.

Lineto plane stickers. Bottom right

+41 Clothing. Top left.

Friends with You toys. Bottom left.

Essential clothing from a brilliant young Swiss label we recently discovered. Graphic prints and lovely attention to detail make their latest collection must-have, y’hear?? Better still, earn some brownie points and buy some for your better half and guarantee their adoration.

Featured in Candy before FWY continue to bring out exceptionally lovable creations made to make your heart bleed if you don’t get your hands on one. These ickle guys are our faves at the moment

Some of the best looking wall furniture available at affordable prices. &

One of our favourite online type foundries keeps on diversifying with a range of printed good, our favourites at the moment being these plane stickers which allow you to bring runway chic to your own home and environment.





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TADO GEE Whizz print.

Silnt BlyssPackOne.

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Done as part of the Save Huck project, Tado along with many others did this one-off print which was then auctioned on eBay in order to pay the legal costs of Huck Gee, a fellow creative, being threatened with deportation from America even through he’s been a resident there for the last 24 years... More at and

The BlyssPack series celebrates a guerilla approach in art publishing through collaboration and experimentation. The drive behind this project was to facilitate the sharing of ideas and work amongst like-minded artists pushing for design to be purposeful.

-----------------------Perks & Mini necklace.

Each contributor were invited and granted full creative freedom. They were asked to think of their work as a gift to those who receive them and to respond to the theme "Bliss". Limited to 1000 editions only. More at

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Pete Fowler ‘Magic Mountain’ print.

-----------------------KAWS new store opens in Tokyo.

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Signed up to present their work at SweetTalk in September below is one of two ultra-limited prints (200 each) available to buy now off While you’re there best pick up a Giant Snorse... HUGE!!!



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Important last words:

“Don't be a hero, no medals- no prizes, go find out about Bill Hicks.” - The London Police. This page. ‘Dublin 13’. Photographed by Ross McDonnell.

Next issue. The Craft Issue. Out August 2006.