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Ellen Jantzen ellenjantzen.com TRIBE MAGAZINE ISSUE 21 3 Rodrigo Illarraga


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TRIBE MAGAZINE | ISSUE 21 | OCTOBER 2013

COVER: Andrew Salgado

EDITORS NOTE Flat-Packed Creativity I’m all for disruption. Recently, tribe has gone ‘flat’ - that is, we have removed the formal hierarchies within the organisation and thrown things over to our young people. It’s scary, exhilarating and it might not work. But that’s no reason not to try it! We live in a highly risk adverse society, and it permeates all aspects of our lives. Hierarchies are stable structures, but they are inflexible and bureaucratic and often prevent the free flow of creativity, the fluidity of ideas and collaborations. And I think that ‘fluid’ is the key word here. Without this fluidity, very little creative can happen and formal management structures are barriers to collaboration, idea sharing, cooperation and imagination. From now on, you will see no job titles in the credits of the magazine. New people joining tribe will have no job titles, no direct responsibilities and no boss to report to. The only thing on our job description is this: ‘Make great things happen’ Mark Doyle founder of tribe

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Artists have given permission for their work to be displayed in tribe magazine. No part of this publication may be reproduced without the permission of the copyright holder(s) If you would like to contribute art or articles to tribe magazine, then please send us an outline of your article to our main contact email. If you would like to submit your artwork, then please send us up to 8 samples of your work to the submit email. We have a rolling submissions policy and accept work at all times and throughout the year. Further details can be found on the contact section of our main website, or by emailing us at: contact@tribemagazine.org To submit work directly: submit@tribemagazine.org (C) 2013 The Word Machine

tribe:  international  creative  arts  published  by  The  Word   Machine,  Thorn  Park  Lodge,  Plymouth,  PL3  4TF

ISSN:  2050-­‐2352

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[music] 12 Brian Wilshere [design] 18 Gopal Namjoshi [article] 26 MARKETING INUIT ART by Christine Platt [art] 34 Zoya Skoropadenko [photography] 48 Eran Gilat [art] 56 Andrew Salgado [photography] 68 Neil Holden [article] 82 THE SINGLE LIFE by Glyn Davies [writing] 96 Evelyn Knightley

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MENU


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CURRENTLY IN OUR TRIBE Marianne Jarvis Emily Pickthall Richard Thomas Simon Petherick (simon@wordmachine.org) Glyn Davies Christine Platt (artventuresto@gmail.com) Mark Doyle Helen Moore Hope Grimson Sarah Ahmad Rebecca Sharpe

Email: [FIRSTNAME]@tribemagazine.org *except where noted*

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Rachael Gallacher 10

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Caroline Green cgreenpaintings@gmail.com

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BRIAN WILSHERE The provocative music of English percussionist and composer Brian Wilshere has been widely performed in the UK and abroad by young British artists such as the Elysian Quartet and Owen Gunnell. Until now, no recordings have been made available. But Louba Rêve Records, a small collaborative label, is releasing two collections of Wilshere’s work in 2013. Tribe caught up with the Derby-born composer in Beijing.

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How would you describe your music?

that you had to be atonal in order to be modern, and

It’s concert music, by which I mean that it’s

some people still believe that. I don’t think I ever

intended for consumption primarily but not

believed that, and if I ever did then I stopped

exclusively in the concert hall. Or at least, I believe

believing it pretty damn quick, because that belief

that’s where it works best. It’s also post

just didn’t account for most of the music I was

minimalist; in other words it shares the minimalist

listening to at the time. All of which means that I

preference for working with a small amount of

don’t quite fit anywhere. I’m not an out and out

material in each piece, but my pieces usually have

minimalist, definitely not a modernist, but neither do

some kind of dramatic or narrative structure, and

I believe in crossover as the way forward. I suppose

really I think that it’s the tension between the often

that really what I do is to posit a future for concert

minimalist nature of the material and the almost

music in which the creative model returns to the kind

cinematic way that it’s treated that gives my stuff its

of aesthetic that powered folks like Dvořák or

flavour. In terms of the actual sound, there’s lots of

Gershwin. In other words, live in the age you’re in,

repetition but also quite a lot of melody, and above

be open to and draw from the music that's around

all a great deal of counterpoint. That is, interlocking

you, especially the pop culture, but then turn those

or interweaving lines of music. But the counterpoint

influences into something that will hopefully last a

often circles around for a while, like a funk groove,

bit and maybe on a good day have some kind of

rather than always having to go somewhere

timeless quality.

harmonically. If you want names, well I’m somewhere on an imaginary line with Steve Reich

Does the percussionist have a unique perspective

at one end and Vaughan Williams at the other, with

when it comes to creating music for the concert

lots of other influences—jazz, world music, prog

hall?

rock, funk—also chipping in. That variety comes

Yes, absolutely. Of all the sections, we’re the ones

from being a drummer, you can play so many

that can play for longest wthout physically tiring,

different styles and instruments.

and yet traditionally we’re utilised the least. I also think that for a percussionist, what I call the centre of

There’s a lot of compelling new work coming out the

music—the musical world you live in—will be very

modern concert music scene: dramatic, exciting,

different from any other section. For us, the centre of

texturally engaging—not a tonal harmony in sight.

music will include lots of musics that include a drum kit, many styles of world music, and also guys like

What is behind modern music’s addiction to

John Cage, Edgar Varese etc—very different to most

atonality and where does your music fit into the

other folks in the orchestra, I suspect. So, the

current scene?

question I asked myself, and to which every piece I

Personally I think there are a number of scenes and I

write is a partial answer, is this: what will Concert

don’t think that atonality is particularly modern any

Music written by a percussionist sound like? Steve

more. As for the addiction, well that’s a product of

Reich provided one kind of answer to that question,

the post war avant-garde and high modernism, in

and I’m providing another I think. And now there are

which people tried to be the musical eqivalent of Le

other people as well, although when I was coming up

Corbusier. When I was coming up, the feeling was

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it pretty much felt like there was just Steve Reich,

well known percussion concertos and there’s

Stomu Yamash’ta and me.

freedom in that.

Many of your pieces have been commissions from

As a performer, you've played in orchestral

soloists or ensembles. How does the creative

settings as well as in less formally structured

process differ in this case from pieces that have

musics such as rock, jazz, samba and gamelan.

been self-motivated?

Can the music of notation and the concert hall

Well, you get the brief and then see what happens. I

ever coexist peacefully with the music of the ear

sail pretty close to the wind sometimes, especially if

and the dance hall—and should it, even?

I already have an idea of what I want to do before the

Oh, good question! How long have you got? I’d say

actual commission comes. For example, years ago a

that the two musics you describe are basically doing

choir wanted a Christmas carol, and I don’t really do

different jobs. I think that the less formal musics are

Christmas apart from the overeating aspect, so I

great for what I call musical journalism—making us

wrote 5 songs about winter for them, which was

dance, helping us move at the gym, telling us about

about as close as I could get and still be me. To their

this week’s zeitgeist, even unconsciously, and

credit, they did perform them. ‘Zodiac’ (Wilshere’s

helping us to get through this week or this year. But

2001 percussion concerto, written for Owen

then there’s another kind of thing, stuff that’s

Gunnell) was supposed to be 12 minutes long and

aspiring to be the musical equivalent of say Charles

about a spaceship. But I just wasn’t getting anything,

Dickens—of its time maybe, but aspiring to have

so it became 18 minutes long and about star

enough in it that’s timeless to maybe still mean

signs. Again, the orchestra performed it. It’s had

something in the very long term—the musical novel,

loads of performances so, again, I got away with it

if you like. Personally, I think that a piece has to be

and they got very good value for money! A brief can

one thing or the other, even if some pieces are close

be very interesting creatively because you can

to the boundary. Again, I think that Gershwin is a

imagine the group performing the piece in your head

very interesting example. I’d argue that the longer

and I think sometimes that produces things you

time goes on, the more his concert pieces assume

wouldn’t have thought of otherwise. Also, I like to

greater importance in the canon and his commercial

meet the group or soloist and hear them if possible,

songs less. That’s not to belittle the songs, they were

find out what floats their boat, and also see if there

great in their time, and even doing that is a fantastic

are things in their current repertoire that might

achievement. Another example would be to put some

inspire something in me. In any genre, you’re always

Louis Armstrong from the 1920s alongside some

aware of what’s gone before, and again that’s why

Bartok from the same era. Only the Bartok will

the percussion field is so deliciously open—because

sound as though it could have been written

there are very few precedents. With ‘Zodiac’, I knew

yesterday, because it was built to last. But again

that it wasn't going to be compared with 94 other

that’s not in any way to diminish the enormous

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impact of Louis Armstrong in his own time, of

difference between liking what someone does and

course.

being influenced by them—it’s not always the same thing. So in terms of my own stuff I think that I most

Which composers would you cite as having had

resemble Reich, Vaughan Williams, Copland, Pat

the most influence on your own work?

Metheny, Bartok, Stravinsky, King Crimson and

When I was a kid I didn’t realise they were called

Stomu Yamash’ta.

composers, but way back it was the original Fleetwood Mac, Jethro Tull, Free, plus lots of reggae

Do you compose on the marimba, the vibraphone

and soul. Then later on it was prog rock, especially

or on the piano like everybody else?

King Crimson, and the post punk bands—punk itself

I do think that the instrument you play affects what

kind of passed me by a bit—so when I seriously

you write, so if a piece comes from material that’s

discovered classical music I kind of reversed into it

generated on a marimba or vibraphone or some

from Zappa and Beefheart into Varese and

untuned percussion instruments, as much of my stuff

Stockhausen. And then I discovered Steve Reich. If

is, it’s going to sound different from something that’s

we were doing Desert Island Discs my top 8 would

coming from the guitar, which I also play, or the

be Steve Reich, Vaughan Williams, Messiaen,

piano, which I play very badly. But these days I find

Bartok, Stravinsky, Debussy, Britten and probably

that increasingly I’m writing on the computer, and

Holst. But then I’d also have to cheat and have a

that the amount of time spent initially sketching

parallel top 8 containing King Crimson, David

using an instrument is getting shorter. That’s

Sylvian, the Blue Nile, Morrissey, Joni Mitchell,

especially true if I’m writing for instruments that I

Rush, Pat Metheny and Keane. But I think there’s a

don’t play—I like to hear a mock up of what

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something will sound like on, say, strings, as soon as

instruments or textures or material, sometimes by the

possible, and in that sense the technology has been a

time you get home the new piece, or the concept for

real help.

it, is just buzzing around your head. I also sometimes have ideas for pieces that don’t actually get finished,

What is the first stimulus when it comes to

maybe for years, or I complete one movement and

writing a new piece? Is it a feeling you want to get

then put it aside, a bit like a painter working on

across, or a musical process you want to explore,

several canvasses at once. And if, as happens

or something else entirely that gets the initial

sometimes, there’s nothing in the tank, then that’s

juices flowing?

when I catch up on finishing stuff I started

In my experience it takes many forms. On a good

previously, or rearrange something, or just take a

day, a piece is right there in your head, especially if

break and check out some new things.

you’re working to a picture or a poem. Other times

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you have a little idea and then use craftsmanship to

Your music is well known in performance, much

turn it into a finished piece. But often it’s nothing

less so in recording. Has this been deliberate and

more than just a notion of what the piece should feel

what’s behind the two new releases?

like or sound like, and in those cases the writing

Opportunity! It just so happened that for a long time

itself is very hard work. And yes, sometimes it’s just

I got far more interest from performers and

pure music—wondering ‘what would happen if I did

conductors than from recording people. The Louba

this?’. I also find that being at a concert and hearing

Reve releases for me represent a big step forward

another piece sets things off. If someone’s written

because I think that they stand up in the market place

something and you think you know what you would

with everything else, they’re live recordings, and

have done differently with the same kind of

they have bar codes! So it's great to finally have

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something out there and hopefully introduce my stuff

stuff from the Louba Reve Piano and Percussion CD

to more people who might like it.

together with the new songs. If we did it, I think we’d definitely do it in an up-to-date way—stream it

What can we look forward to from you in the

live and also do a recording and DVD for

future?

example. These days you can reach a lot of people

Lots more releases I hope! The next one is going to

without going round the world in person, and much

be an album of songs for voice and percussion

as I love to travel I do find that an attractive idea!

quartet, which we’ll be recording in the winter and hopefully releasing next year. I’ve also just finished

brianwilshere.com

a new piece for a capella choir, and I’m hoping to do

loubareve.com

a choral album with that piece plus several previously written ones. Since I already have quite a big back catalogue, I think I’ll be writing fewer new pieces in the next few years, and I’ll be doing more stuff that’s based on ideas I’ve had around for years that I want to get finished. A big song cycle for soloists, choir and orchestra is one example, but if other opportunities come up it could all change. It’d also be nice to do some concerts if I can find the right combination of people and pieces to work with. Some combination of percussionists, singers and pianists would allow us to do the

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MAU  MAU mau-­‐mau.co.uk

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“I think my installations will turn into public interactive events, while ‘Glowrious’ further spreads its glory and light.” Gopal Namjoshi Gopal Namjoshi is an independent artist working in the area of arts, crafts and design. Practicing from past 25 years Gopal has craved his niche with his innovative work. After spending his formative years as a designer, lecturer, consultant and an advertising professional in Jaipur for two decades, has moved his base to Delhi and has swiftly been picking up to the likes of the city. artgopalnamjoshi.com artworkzz.com

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MARKETING INUIT ART CHRISTINE PLATT The Inuit art market differs greatly from the traditional primary art market in a number of ways, including the players involved and how it functions. This results in different artist benefits, distribution of risk and quality standards. Currently the market faces challenges to its resilience with some changes taking place as a result and much to question. On the primary market, most contemporary Inuit artists sell their work through a unique system dedicated wholly to art made by Inuit. Inuit owned and operated cooperatives, along with various other

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governmental institutions and private art marketing companies act as distributors to the galleries across the globe. They select and price artworks made by Inuit in their local communities, paying the artists directly and immediately, similar to buying products in most other (non-art) commodities markets. This provides a sense of general financial security to the artists, and ensures a flow of capital to reinvest in materials and tools for further art production. Arguably this system would appeal to many non-Inuit artists in the world for its security and psychological value.


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The distributors transport the works they have bought from Inuit artists to warehouses in the south of Canada, where gallery representatives arrive to select works to sell in their own spaces. Gallery representatives must pay for smaller works in full, while they usually take larger works on consignment. The relative risk, therefore, is highest for the distributors in this market who have already paid the artists, paid for transport to facilities closer to galleries and paid for storage of art until it has sold (sometimes years later). Distributors in this market act more like gallery representatives in other art markets; they coach artists on quality, refusing to take the poorest works, and in some cases truly helping artists to find their own original vision. Additionally distributors help artists to develop their technical skills through workshops and travel opportunities to meet gallery representatives, collectors and other artists. Nevertheless, mediocre and midlevel works can still be found on the market, due to a number of factors including: the dearth of works made available; sympathy markets; and a lack of competition. Although the market has considerably cooled in the last decade, especially with a number of galleries closing in the past five years, distributors continue to select large quantities of works not far enough from the numbers they selected during the market’s height in the 1980’s and 1990’s, which is evident from the large number of works found in the major distribution centres. Problematically, the distributors face entire

communities whose livelihood depends largely on art sales, which has created pocket sympathy markets in which those lower quality works are still taken on, but prove more difficult to sell to collectors. Furthermore, distributors often have little competition as only one or two operate in a given region, due to both the remoteness of where artists work and the territorial development of the overall system. Without competition there is little incentive to improve the system and ensure the highest possible quality. Some of the artists affected by this system both positively and adversely include Floyd Kuptana and Bart Hanna, who both have a number of works in their own truly original styles and beautifully executed, but whose lesser quality works can equally be found in distribution centres and on gallery floors. This causes the artists to have a skewed understanding of their collectors tastes and de-motivates them from producing their best work. It also creates challenges for pricing and wider market stability. > Art made by Inuit has frequently been sold as part of the brand: Inuit Art. Galleries around the globe selling the artform often dedicate themselves solely to it. Those galleries with additional art made by nonInuit artists often separate Inuit produced works instead of having them arranged together by other categories, such as materials, styles and themes. Museums also often have special sections of Inuit art separated from wider contemporary art collections, although recent museum practice has evolved in some institutions to

Joot jootdraws.com

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allow for flexibility in display and information. Governments and their businesses and communities have championed the artform as a national treasure in Canada, which even extended to the Vancouver Olympics’ icon of an Inuksuk; Inuksuit have many functional uses in Inuit culture which differ from the often seen stone sculptures sold in most Inuit art galleries, such as giving direction and marking food stores. Collectors of the artform include collectors of art in general, but also collectors of anthropological and historical objects, tourists as well as those attracted to the brand in general. Having the brand Inuit Art has brought positive attention to Inuit communities and a desire to understand their culture. It has also helped to make large and diverse audiences aware of art made by Inuit and spurred high sales volumes. However, it has arguably presented an essentialist view of work made by Inuit, and it presents a challenge to sustainability in their separate market system as tastes and economies change. Recently some individual Inuit artists have departed to non-Inuit galleries, gaining more independent recognition from the wider contemporary art field. Young artists such as Mark Iglorliote and Alethea Arnaquq-Baril have diverse followings within the Inuit community, collectors of Inuit art and collectors of art generally. These young, individual artists, just as those within the Inuit art market, continue to give insight into Inuit culture and contemporary thought. While most displays of Inuit art shown by Inuit art galleries and museums focus on

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traditional stone sculptures, prints and occasionally drawings, works by these young artists present the diversity of production modes now in use by Inuit artists, including video, photography and installation. At a time when many collectors from the separate Inuit art market are ageing out, these young artists present a fresh style of art made by Inuit which appeals to young, new audiences, challenging the status quo of the Inuit art market and bringing to the fore questions on how the market currently functions and alternative methods of promoting and protecting art made by Inuit. The Inuit art market is a unique system with benefits for the artists and communities involved. Unlike any other art market in the world, it values art production above all else and it promotes and distributes the art produced across a vast network. However, it is also a system facing challenges and on the brink of change that will test its resilience, as artists, galleries and distributors decide how best to ensure quality and meet the demands of their collectors. <


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Words and pictures: Christine Platt artventurestoronto.com

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Buns When she was young, Susan used to feed the hippos at London Zoo with current buns. She’d toss them up in a neat arc to land on their huge tongues, between the two stump teeth. Later, the zoo put up signs ‘Do not feed the hippopotami. Their natural diet is grasses and weed.’ Susan said, “The buns never seemed to do them any harm.” The hippos said, “What are buns made from?” Simon Williams

Simon Williams makes a living as a technology writer, but has written poetry for longer. He has five published collections, the latest being A Place Where Odd Animals Stand (Oversteps Books, 2012) and He| She  (Itinerant Press, 2013). He is currently the Bard of Exeter and has a robe and a chair. He’s just started editing The Broadsheet. Find him at simonwilliamspoet.moonfruit.com and The Broadsheet at broadsheet.moonfruit.com.

Pic: Magenta Fox

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So Muddy A construction site so muddy big dump trucks sink out of sight. Crossing on foot while hardhats curse in a dozen shades of pink, I leave footprints like dinosaur tracks steaming in the midday heat.

William Doreski lives in Peterborough, New Hampshire, and teaches at Keene State College. His most recent book of poetry is The Suburbs of Atlantis (2013). He has published three critical studies, including Robert Lowell’s Shifting Colors.  His essays, poetry, fiction, and reviews have appeared in many journals, including Massachusetts Review, Atlanta Review, Notre Dame Review, The Alembic, New England Quarterly, Worcester Review, Harvard Review, Modern Philology, Antioch Review, and  Natural Bridge

Trying to escape to the east, toward the deep plotting of the sea, I feel as though I’m entering the interior of a machine grinding away at the planet. Yellow power shovels unearth the sunken big-wheeled dump trucks and with chains like strings of biceps hoist them onto terra firma. I dodge among the grunting diesels and slip through a hole in the fence. As I look back, a crane at least two hundred feet tall topples in a smash of X-shaped runes. I don’t think anyone was hurt, but the perceived level of cursing rises to crimson and navy blue. An entire edge city expects to rise from this sultry mire. Condominiums, shopping malls, office blocks. Greasy syllables already grace the realty ads. What if the whole new complex sinks like Atlantis and leaves the property owners shipwrecked? The narrative of construction

Pic: Rose Packer

will fade into that of routine, and my footprints, ignored by the landscaper’s bulldozer, will petrify into a god’s. William Doreski

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Bastard Nation It wasn’t her decision to entrust you to strangers and the moon tides. She was only 14 when she had you. The multitudes of fish attracted seals, and the seals attracted sharks. A pack of sharks is called a “shiver”. Now that you’re a grown-up, I can tell you what else I know – that just because someone receives punishment doesn’t mean there’s been a crime. Howie Good Howie Good, a journalism professor at SUNY New Paltz, is the author of the forthcoming poetry collection The Middle of Nowhere (Olivia Eden Publishing) and the forthcoming poetry chapbooks The Complete Absence of Twilight (Mad Hat Press), Echo's Bones and Danger Falling Debris (Red Bird Chapbooks), and An Armed Man Lurks in Ambush (unbound CONTENT). He co-edits White Knuckle Press with Dale Wisely. Pic: Juan Patino Herraiz

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The Dance Music Stops With fluttering wingbeats, they rise vertically & then, with wings spread out, let themselves fall again. Are you one of the dreamers now? Summer is almost over. One tape is playing slightly faster than the other. Even examples containing a mixed bacterial population can be examined in this way. Her hair, a ruckus of springy black curls, was carolled above her head with a yellow ribbon. “Blondie are back & embarking on a tour of the country”, said Jenny. One of the things we may need to look at is that there

Pic: Polly Morwood

are now more female GP’s. How much is your organisation lobbying for support? “It’s a seventeen venue tour”, she said. With no natural enemies, the wolves were unafraid of humans. Yet their earthiness was urban, not rural, frivolity with a military edge. “I bent to my oars”, he said. As crocodile numbers increase so does the risk to residents & visitors. Rising food prices are driving families into poverty yet this red-billed corvid continues to breed around the headland.

Steve Spence has published two collections of

“I like to dress up, so it didn’t really bother me”, said Debbie.

poetry. A Curious Shipwreck (Shearsman, 2010)

You can tell by the sound that they’re all disappearing, yet

was shortlisted for the Forward Prize best first

consumerism is still the biggest issue in terms of biodiversity.

collection. His second collection, Limits of Control (Penned

Can poetry function successfully as a medium for social polemic, & if it can, what does it achieve? A rhetorical question? “Do you consider yourself to be an artist or a commodity?”

in the Margins, 2011) was featured on radio 3’s The Verb in 2011. He reviews poetry for Tears in the Fence and Stride (online) and his poetry has also appeared in a number of anthologies, including In the Presence of Sharks (Phlebas,

In his Westminster office, the mad monk of monetarism took

Plymouth) and Smartarse (Knives, Forks and

this as a thrown-down gauntlet. Our eyes became accustomed

Spoons Press). He gained an M.A. in Creative

to the dark & there is a rustling in the undergrowth.

writing at the University of Plymouth in 2007.

Steve Spence

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Interview by Mark Doyle

ZOYA SKOROPADENKO Zoya is a Ukranian artist based in Monaco, who works in a wide variety of artistic mediums. tribe recently caught up with her to talk about her work.

Where does the creative process start for you?

Где  начинается  Ваш  творческий  процес?  

It starts from sketching. It is not always the case but

Сначала  я  делаю  зарисовки.  Это,  правда,  не  

most of the times it comes from there. Sketching comes as first nature to me. If I see something that catches my eye I sketch it.

правило,  но,  скажем,  в  большинстве  случаев.   Рисунок  -­‐  это  то,  что  является  началом  начал  для  

It could be when I am having breakfast or when I am

меня.  Если  я  вижу  что-­‐то  интересное,  я  

having cup of coffee in a café. A Japanese friend

обязательно  это  зарисую  в  свой  блокнот.  

gave me a wonderful traditional calligraphy ink brush

Например,    я  зарисовываю  сценки  во  время  моего  

that is now always in my bag and it is a brilliant tool for getting my feelings on paper. Drawing for me is the same as eating, I just need to do it. After a week or

завтрака,  или  когда  я  присаживаюсь  в  кафе  выпить   кофе.  Как-­‐то  раз  моя  японская  подруга  подарила  

two I look through my sketch books and use my

мне  превосходную ��традиционную  кисть  для  

sketches as a basis of something new like a painting,

каллиграфии.  Сегодня  я  с  ней  не  растаюсь.  Она  

or linocut.

всегда  у  меня  в  сумке.  Это  волшебный  инструмент   для  того  чтобы  изобразить  мои  чувства  на  бумаге.  

How did the idea for the 'Torso' series come about? Can you describe how you made these images?

Рисование  для  меня  то  же,  что  и  еда  -­‐  мне  это   нравится  и  я  в  этом  нуждаюсь  ежедневно.

It was on a miserable Riviera day a few years ago. I was stony broke waiting to get paid for a few jobs I’d

Недели  через  две,  я  обычно  возвращаюсь  к  своим  

done. I didn’t even have the money to buy paints, I

наброскам  в  блокноте  и  использую  их  как  базу  для  

could just about eat till the money came through. Then I’ve had an idea. What should artist do in such a case? I decided you have to use what is available

чего-­‐то  нового,  например,  для  будущей  картины,   или  гравюры.

come what may. Well I had a camera. I must had

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looked very hungry because I also had a box of

Как  Вам  пришла  идея  серии  “ТОРСы”?  Могли  бы  

octopus in my fridge that a local fishermen, seeing me

Вы  описать  процес  работы  над  ними?

looking down on my luck, had given me for free. I

История  появления  серии  “ТОРСы”

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prefer roses but octopus will do! I put the smelly box of potential dinner seafood in front of me and thought out them. Octopus are not particularly inspiring, not at

Пару  лет  назад,  в  один  из  редких  угрюмых  дней,   которые  все-­‐таки  бывают  на  Лазурном  Берегу  

first anyway. Then I realised that in front of me was a

Франции,  я  сидела  на  “мели”  и  ждала  обещанных  

pile of “flesh” from which I could “build” anything I

гонораров,  за  несколько  работ,  которые  я  уже  

wanted. When I get a strong idea I usually reach for

сделала.  Естественно  на  краски,  полотна  и  

my “imaginarium.” My “Imaginarium” is a collection

разбавители  денег  не  было,  их,еле  хватало  на  еду  

of loose leaf folders filled with images that impressed, aroused or inspired me. I decided to mould something classic and beautiful. There is nothing

чтобы  продержаться  до  обещанных  гонораров.  И   тут  меня  осенила  мысль.  Чтобы  бы  сделал  

more beautiful than human’s body, so that became the

художник  в  моем  положении?    Естественно  

subject. A human torso is different from an octopus’

использовать  то,  что  лежало,  в  данный  момент,  

body, but I decided to imagine that this flesh was clay

под  ногами,  вернее  сказать,  было  под  руками.

from which I would model a sculpture. Prometheus, Pygmalion or Polyclitos? That wasn’t in my mind at the time. I took my most favorite classical torsos

Во-­‐первых,  у  меня  была  фото-­‐камера.  Во-­‐втрорых,  

used them as inspiration. Then I took are series of

у  меня  в  холодильнике  лежала  коробка  

photographs. The next morning I chose the best,

осьминогов,  которую  мне  дали  местные  рыбаки  

developed them and apologised to my neighbors for

на  рынке,  возможно,  глядя  в  мои  изголодавшиеся  

the strange smell coming from my apartment.

глаза.  

I refroze the octopus. And since then each time I get inspired by a Torso I still get my Octopus out of the freezer, though they are another generation (the first

Конечно,  я  бы  предпочла  розы  которые  намного   поэтичнее,  но  и  с  осьминогами  можно  

group having become impossibly putrid) as well as I

поработать.  Я  поставила  перед  собой  коробку  с  

developed the technique and now it is a large scale

отменными  средиземноморскими  осьминогами  

mixed media pieces going over 200cm.

утреннего  улова  и  задумалась.

You have worked with linocuts for your Coffee Drinkers series - what was it like working with

Осьминоги,  как  мне  казалось  в  тот  момент,  сами   по  себе  не  посылали  волны  вдозновения.  И  вдруг  

lino? What do you like about working with that

я  поняла,  что  передо  мной  лежит  “глина”  из  

material?

которой  я  могу  вылепить  все,  что  угодно

I love Lino. It is such a great material to work with. I

Когда  меня  осеняет  подобная  креативная  идея,  я  

do it all until my hands are sore. Lino is considered

заглядываю  в  свой,  так  называемый,  

“passé.” It is so “out” that as far as I’m concerned its “in.” It’s so old fashioned it contemporary, so gauche its agile. My interest was piqued during a visit to the

“имаджинариум”.  Имаджинариум    -­‐  это  моя   коллекция  папок  с  вырезками,  зарисовками,  фото  

exhibition “Entdeckte Moderne” (About German art

которые  я  постоянноо  делаю  когда  вижу  

of early XX century) in Salzburg.

интересную  работу  или  идею,  материал  или    все   то,  что  поражает  воображение,  удивляет  и   захватывает  меня.

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There were amazing Lino pieces by Victor Tuxhorn, Wilhelm Rudolph, Edmund Kesting and they made me want to do my own. Later I rediscover work of a famous Polish-Austrian-Ukrainian linocut master

Перелистав  пару  папок,  я  решила  вылепить  из   моей  “глины”  что-­‐то  классическое  и  прекрасное  из   этого  сырого  материала.

from my native Lviv, Leopold Lewicki. So when I

Выбор  пакл  на  торс.  Нет  ничего  прекраснее  

decided to create the series “Coffee Drinkers” I knew

нежели  человеческое  тело,  торс.    Таким  образом  

that I would do it in linocut.

эта  тема  меня  увлекла Тело  человека  отличается  от  тела  осьминога.  Но,  я  

What does art mean to you? What should good art communicate? What does art express to me? It’s the expression of

представила  себе,  что  передо  мной  не   морепродукт,  а  глина,  из  которой  я  сейчас  начну  

another mind, or time or perspective. It’s

создавать  новую  жизнь.  Прометей?  Пигмалион?  

communication. Words are feeble in comparison to

Или  Поликлитос?    Я  выбрала  самые  любимые  

images. The eyes are the floodgates of the soul and art

классические  торсы  из  Лувра  в  качестве  

floods the mind through them. Your work is very impressionistic, despite it

вдохновения.  Затем  я  сделала  серию  фотографий На  следующее  утро  я  отобрала  самые  лучшие  

cutting across many mediums. Is impressionism

негативы,  проявила  их  и  извинилась  перед  

something that you identify with? Which art

соседями,  которые  начали  жаловаться  по  поводу  

movements have influenced you?

неприятного  странного  запаха  из  моей  квартиры.  

I don’t think myself as a classic impressionist. “torso”

Я  заморозила  осьминога

uses their technic of the indistinct to create perceived detail, and I do work fast and freely, but I don’t think Renoir would think of me as an impressionist! But it

С  тех  пор,  каждый  раз  когда  меня  вдохновляет   очередной  торс,  я  достаю  моих  осьминогов  из  

would be impossible for me not to be influenced by

морозильника  (хотя  конечно  же  это  непервое  

the impressionist, their work is overwhelming.

поколение  осьминогов,  а  очередные,  так  как   портятся  они  очень  быстро).  Также  я  разработала  

I was recently painting in the Muse d’Orsay in Paris working as a copyist and you kind of bath in a hothouse of impressionism there. It was the whiff of their Absinthe that made me come up with “Coffee

технику  в  которой  я  создаю  ТОРСы,  и  сегодня  это   не  фото,  а  большие    роботы  в  смешанной  технике   которые  достигают  200см.

Drinkers.” However art doesn’t begin and end with Manet and Seurat. I’ve been inspired by art from

Вы  работали  в  технике  линогравюры  над  Вашей  

Neolithic bone carving right up to the latest crazy

серией  “Любители  Кофе”.  Как  Вам  работалось  в  

work at Fiac.

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For the 'Milk' series, you made an everyday drink a focus point for the work. Can you describe your ideas behind this work? Milk comes from the idea of another palate.

Я  обожаю  линогравюру!  Это  великолепный   материал  для  работы.  Я  режу  гравюры   практически  до  мозолей  на  руках.    

Milk is a series of oil paintings on canvas

Сегодня  техника  линогравюры  считается,  так  

depicting milk and my favorite landscapes: A

сказать,  “passé”,  техникой  прошлого

Parisian café, a skating-rink, a window from

Она  настолько  немодна,  что  я  считаю,  это  как  раз  

childhood, Californian palms, my grandmother’s table, the Dubai desert, a Japanese Park. I created MILK about two years ago. When I

то  самое  современное  что  только  может  быть   сегодня  в  искусстве.  Я  глубже  заинтересовалась  

came back home after visiting the Frieze and

линогравюрой,  посетив  выставку  “Entdeckte  

FIAC art markets. The tendency on today's Art is

Moderne”  (немецкое  искусство  начала  ХХ  века)  в  

terrifically MALE. That art is dark, ugly, scary,

Зальцбурге.  

burnt and carbonized, scatological and

В  экспозиции  были  представлены  работы  Виктора  

pessimistic. It is all about poop and blood and death! So I had a long think about that. Men and gore and poop. Its predictable, repetitive, ugly

Тухорна,  Вильяма  Рудольфа,  Эдмунда  Кестинга,   которые  подтолкнули  меня  к  идее  самой  заняться  

and boring. It clearly has an audience, but

линогравюрой  

painting for people who want to hang gore and

Позже  я  стала  обращать  внимание  на  работы  

poop on their wall doesn’t inspire me.

других  мэтров-­‐графиков.  Я  заново  открыла  для  

Time for something different that art for the “anally retentive.” How about something for the “aural personality.”? How about Milk? Instead of

себя  работы  польско-­‐австро-­‐украинского   художника  Леопольда  Левицкого.  

poop, milk, instead of blood pink skin, instead of

Поэтому  когда  я  решила  создать  серию  “Любители  

torn forms round friendly shapes. For all their

кофе”,  я  знала,  что  это  будет  линогравюра.

dark shades the old masters in the Louvre loved their jars of milk, the Virgin Mary’s breast. I love painting still-lives, It was my "thing" in Art Academy. With milk I don’t want to be “in your face,” I want to draw you in, so what appears to

Что  для  Вас  означает  искусство?  Каков  посыл   хорошего  искусства? Что  такое  для  меня  искусство?  Это  выражение  

be a monochrome oil paintings on small canvases

иного  состояния  мысли,  времени,  ерспективы.  

are actually full of details carved in relief in the

Что  же  касается  посыла,  то  один  раз  увидеть  

paint. When you look these secret pictures shine

лучше,  чем  тысячу  раз  услышать.  Глаза  -­‐  зеркало  

into life. Each painting feature one of three colours: either blue or pink or yellow. Blue - for cold MILK, Pink - for soft skin,

души,  а  искусство,  прекрасное  или  ужасное,     проникает  в  душу,  именно  через  глаза.

YELLOW - boiled hot MILK or cream or cheese.

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Every painting depicting a glass or bottle or

Ваши  работы  очень  импрессионистичны,  

other glass vessel with Milk in it.

несмотря  на  то,  что    они  исполнены  в  разных  

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Later I incorporate landscapes and people into the

техниках  и  раными  медиумами.    Отождествляете  

background and I use my sketches a source material

ли  Вы  себя  с  импрессионизмом?  Какое  

for the hidden pictures..

движение  в  искусстве  наиболее  повлияло  на  

You live in Monaco - is there a strong artistic

Ваши  работы?

community there? What is the arts scene like in

Я  не  считаю  себя  импрессионистов  в  классическом  

Monaco?

смысле.  ТОРСы  созданы  с  непрямым  посыланием  

Monaco is a great place for an artist. It has great light.

на  их  технику:  в  этой  серии  я  исключаю  детали  и  

The same light loved by Matisse, Leger, Cocteau and

работаю  над  общим  впечатлением.    Как  и  

Picasso. It is also busy with lots of exhibitions from around the world and numerous artistic events like the annual Monaco-Japan Artists Meeting. There are

импрессионисты  я  работаю  быстро  и  свободно,   но,  думаю,  что  Огюст  Ренуар  вряд  ли  назвал  бы  

regular Art Salons and Fairs. Monaco also maintains

меня  коллегой-­‐импрессионистом.  Но,  

its place in the world art scene putting on brilliant

естественно,  невозможно  не  вдохновляться,  глядя  

summer exhibitions with famous museums like

на  работы  импрессионистов  -­‐  они  бесподобны!

MOMA, The Louvre and The British Museum. On top of that Monaco give a lot of moral support to resident artists, so you feel appreciated. However you

 Недавно  я  работала    в  Музее  Орсе  в  Париже   копиистом.  Работать,  в  этой  мекке  любителей  

still have to sell your work and of course Monaco is

импрессионистов,    и  это  как  глоток  воды  в  

an art loving and rich country, so that’s a great help

пустыне,  Именно  после  работы  там    у  меня  

too.

появилась  идея  серии  “Любители  кофе”. Однако,  искусство  не  начинается  и  не  

What are you currently working on? I am continuing to work on the TORSO, MILK and COFFEE DRINKERS series. Im also thinking about a new idea called ‘Green’. Green is the ultimate color

заканчивается  на  Мане  и  Сера.  Меня  вдохновляет   и  неолитическая  резная  кость,  и  некоторые   работы  на  последнем  арт-­‐рынке  FIAC

of nature. Green is spring. Green is rising hope. I’m collecting green pigments and oil colors from all

Работая  над  серией  “Молоко”  ,  главным  

over the world and working on ideas for a range of

“героем”  стал  ежедневный  простой  напиток

images, perhaps portraits, maybe landscapes, even abstracts, using a restricted palate of green. As for the horizons, internally I am continuing to

Идея  серии  работ  маслом  “Молоко”  возникла  из  

produce new works in my series as well as planning

идеи  использовать  другую,  иную  палитру  красок

to do more copyist work at the Musee d’Orsay and

МОЛОКО  -­‐  это  серия  работ  маслом  на  полотне,  в  

Louvre in Paris.

которой  я  пишу  молоко  и  мои  любимые  пейзажи:  

Externally I have a number of exhibitions coming up including my linocuts which look set to go on tour

парижские  кафе,  окно  моего  детства,  пальмы   Калифорнии,  стол  моей  бабушки,  пустыня  Дубаи,  

around France. I’ll also be working on sculpture with

японский  парк.  Я  начала  работать  над  МОЛОКОм  

Japanese ikebana artist Kasho Maeno in Japan on an

года  два  назад,  когда  я  вернулась  домой  с  

art project to help revive the Fukushima area and help

очередного  рынка  современного  искусства  то  ли  

orphan children there. <

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Сегодня  тенденция  в  искусстве    ужасающе  

Характерная  черта  каждой  работы  -­‐  три  основных  

МУЖСКАЯ    Это  темное,  безобразное,    жуткое,  

цвета:  голубой,  розовый,  желтый.  

сожженное,  обугленное,  копрологическое  и  

Голубой  цвет  -­‐  это    холодное  МОЛОКО.  Розовый  -­‐  

пессимистическое  искусство

парное  МОЛОКО.  Желтый  -­‐  кипяченое  МОЛОКО  

Это  искусство  об  экскрементах,  о  крови  и  о  

или  сливки,  или  сыр.      В  каждой  работе  

смерти.  Я  долго  раздумывала  над  этим

изображен  стакан  или  бутылка,  или  графин  с  

Мужчины  и  кровь,  и  экскременты.

Молоком.    Позже  я  добавляю  в  работу  в  качестве  

Все  это  так  предсказуемо,    безобразно,  скучно  и  

фона  пейзажи,  людей,  используя  свои  

постоянно  повторяется.  Несомненно,  такое  

ежедневные  рисунки,  как  материал  для  скрытых  

искусство,  как  мы  видим,  имеет  свою  аудиторию,  

изображений.

но  лично  меня  совершенно  не  вдохновляет   картина,  которую  вешают  на  свои  стены  люди,  

Вы  живете  в  Монако.  Есть  ли  там  сообщество  

которые  любят  кровь  и  экскременты.  

художников?  Что  Вы  можете  сказать  об  арт  

Настало  время  для  чего-­‐то  другого,  искусства  для  

сцене  Монако?

“крепко  анального”,  нежели  для  поноса  

Монако  -­‐  прекрасное  место  для  художника.  Здесь  

Поразмыслив  о  противоположностях,  я  начала  

великолепный  свет.  Тот  самый  

искать  что-­‐то  что  было  бы    противоположно  

средиземноморский  свет,  который  так  ценили  

анальному  отверстию.  И  так  появилась  идея  

Матисс,  Леже,  Кокто  и  Пикассо.

Молока.  Вместо  какашек,  это  будет  молоко.  

Здесь  также  проходит  множество  выставок  со  

Вместо  крови  -­‐  розовое  живое  тело.  Вместо  

всего  мира,  художественные  мероприятия,  

оборванных  острых  форм  -­‐  дружеские  округлости.

например,  ежегодная  выставка  Монако-­‐Япония,  

Несмотря  на  всю  темноту  и  затемненность  работ    

ежегодные  Арт  Салоны  и  рынки.

старые  мастера  с  их  работами  выставленными  в   Лувре  обожали  писать  горшки  с  молоком,  святую  

Монако  также  отстаивает  свое  место  на  мировой  

Марию  с  оголенной  грудью,  кормящую  младенца.

арт  сцене  проводя  ежегодные  летние  выставки  в  

Я  обожаю  писать  натюрморты.  Это  был  мой  конек  

сотрудничестве  со  всемирноизвестными  

в  Академии  искусства.  Своей  серией  “МОЛОКО”  я  

музеями,  такими  как  МОМА,  Лувр,  Британский  

не  хочу  “тыкать  вам  в  лицо”.  Я  хочу  заманить  вас  

музей.

туда,  чтоб  вы  заглянули  и  нашли  то,  что  я  хочу  

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показать.  Потому  что,  несмотря  на  то,  что  работы  

Ко  всему  вышесказанному,  Монако  морально  и  

совершенно  монохромны  и  плоские,  в  них  

даже  иногда  материально  поддерживает  своих  

множество  деталей,  которые  можно  найти  лишь    

художников-­‐резидентов,  и  это  дает  уверенность  и  

при  освещении  и  ракурсе.      

чувство,  того,  что  твою  работу  ценят.  

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‘Milk’

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Однако,  несмотря  на  все  это,  ты  все  равно  

пейзажи,  даже  абстрактные  работы.  И  все  

должен  работать  и  продавать  свою  работу,  и  

вариациями  зеленого  цвета.

поскольку  Монако  страна  с  большим   количеством  богатых  ценителей  прекрасного  -­‐  это  

Насчет  “внутренних”  горизонтов,  то  я  планирую  

неплохое  подспорье  для  художника.

продолжать  работать  над  новыми  работами  во   всех  сериях,  а  также  продолжаю  мое  

Над  чем  Вы  работаете  сейчас?  Какие  следующие  

сотрудничество  в  качестве  копииста  с  Музеем  

горизонты  в  Вашей  работе?

Орсе  и  Лувром  в  Париже

Я  продолжаю  работать  над  сериями  TORSO,  

На  “внешнем”  горизонте  у  меня  намечены  пара  

МОЛОКО  и  Любители  кофе.  Также  я  начала  

выставок  линогравюр,  которые  сейчас  ждут    

работу  над  новой  серией  под  названием  

своего  “тура”  по  Франции:  Париж,  Бордо,  Руан.  Я  

“GREEN”  (“ЗЕЛЕНЫЙ”).  Зеленый  цвет  -­‐  основной  

также  работаю  над  скульптурой  для  проекта,  

цвет  природы.  Зеленый  -­‐  это  весна.  Зеленый  -­‐  

который  мы  делаем  вместе  с  известным  

цвет  надежды  

художником  икебаны  Кашо  Маено  в  Японии.  Это   арт  проект  по  возрождению  зоны  Фукусимы  и  

Сейчас,  путешествуя,  я  собираю  зеленые  

помощь  детям-­‐сиротам  из  этой  зоны.  <

пигменты  и  маслянные  краски  по  всему  миру  и   пишу  картины  в  зеленом  цвете.  Это  портреты,  

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zoia.skoropadenko@gmail.com

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LIFE SCIENCE | Photography I am a Neuroscientist and an avid Art Photographer. My research focuses on the study of the mechanisms underlying epilepsy, and the development of innovative cure for this illness. In recent years I found myself directing vast attention and energy to still life photography of biological specimens, highly inspired by my long lasting confrontation with biological tissues and natural fauna. It takes a while for a young clinician or a researcher to accommodate the laboratory or hospital scenes to enable good performance. This is done by extensive training; some cannot adjust to the visuals. I feel my photographic activity carries me to these regions too. My photographic activity deals with the aesthetics of the scene, improvising various contexts, the tools and paraphernalia shown are not just the typical ones used in the operating place. My "Life Scienceâ&#x20AC;? project is forcing the biological tissue into a relatively pleasant, sometimes artificial scenarios contemplating issues of materialism, erotica and mortality, corresponding with the complicated and intriguing category of â&#x20AC;&#x153;Animal reminderâ&#x20AC;? in the visual arts. I feel my work engages also various toning of violence. We tend to describe violent humankind behavior as an animal like beastly revolting one, associated with animal violent behavior. But the animal world is dictated purely by survival rules due to inexorable, harsh selection process. No one will consider the abandoning of the essentials measures for the preservation of the species as cruel ones; this was previously emphasized by Charles Darwin and recent eminent scholars. I believe in many aspects we are inferior to the animal world moral conduct, while being superior in our intellectual competence. Eran Gilat erangilat.com

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Interview by Francesca Didymus

ANDREW SALGADO What is the rough process of your work from the early

their craft. A truly brilliant person will reassure you with full

stages of its conception to the final realisation of a piece?

humility that they still have a lot to learn.

I get asked this question a lot but it remains one question that I find perhaps hardest to answer. My process is about

You once stated that your work deals with ‘concepts

tinkering around in the studio, experimentation, and

concerning masculinity, sexuality and identity’. To what

accidents. I have no process, each painting is different from

extent are these concepts a reflection of you as an

inception to conclusion and as a result I actually have a lot of

individual? Or rather what inspires them?

detritus, but I find that I learn from my so-called ‘failed’

These are my overriding concerns because they speak to who

paintings. It is important for me to be critical and to self-edit,

I am as a person. My work has always been keenly

and my process is always one about surprising my viewer as

autobiographical but since 2012 I have viewed it as

well as myself. For my first solo show in New York City in

something of a ripple-effect, in which I continuously take a

2010, my work was described by one critic as

‘step outward’ to look at my story and the stories of others as

schizophrenic…which I have since adopted as a strength to

an external, omniscient narrator. Sure, it’s still tangentially

my practice.

linked to me and my own history, but its less solipsistic…it’s less bull-headedly conceptual, more about broader and more

Your work for the Harvey Nichols' windows in London's

accessible ideas.

Knightsbridge all sold out within just an hour of the preview. However, despite the popularity of your work

How did your style of painting evolve to what it is today?

have you ever doubted yourself as a painter?

Style should never be a concrete idea. It should evolve as a

Of course. I always have and still do. Referring again to that

person does. I think that I look back at how I was working

exhibition in NYC in 2010, the entire show was actually

two years ago, and I feel like a different painter now. I hope

called Anxious as a quite self-reflexive reference to my own

that in another two, five, or ten years I am able to see more

state-of-mind in the studio. I have since learned to channel

developments in my technique, concept, and practice once

and control such self-doubt, which I think can be a powerful

again. I think there is nothing less interesting than an artist

motivator for an artist to push himself into new exciting

who has defined his practice so astutely that a viewer is

territory. I think ‘comfort-zones’ are dangerous things for

unable to see any progression. I think painting has the ability

artists – too much self-confidence in the studio can be a

to shock and surprise, and it should aim to do so at every

cripplingly negative thing, as can too much self-doubt. I have

turn.

often said that “an artist’s worst enemy is a false sense of security in the studio” which I believe with zeal. Doubting

Speaking most directly, I’m working a lot more slowly these

oneself is what pushes you to stay on your toes, stay razor-

days. There’s more consideration into the mark making and

sharp, and believing that there is always something that you

I’ve been playing with what I consider additive/subtractive

can do better makes you strive to push yourself. I have little

space, which is similar to negative space although it has been

time in life for anyone who believes he or she is a ‘master’ at

painted to look vacant. After a long time, I finally feel like

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I’m close to defining my true voice as a painter. It’s all about evolution and change, isn’t it? Your expressive technique certainly complements the impressive scale of your paintings. Was this intentional? What attracts you to painting on a large canvas? I love the monumental nature of scale. I love viewing paint that is larger than life, and playing with figures that become unnaturally large within this space, because its unnatural to view, and causes a viewer to reconsider the painted image. I’ve never been concerned with accuracy, so scale is another way to force both myself and the viewer outside of the confines of expected modes of representation. Also, I’m quite aggressive and physical when I paint, so I like the immediacy of painting on a larger canvas. I do paint very small as well, for precisely the opposite reasons that I enjoy painting large scale: I like to challenge myself through restraint, and to achieve similar but different results on a smaller scale is extremely challenging. Where do you hope to be in the next few years? Hopefully still in London, and hopefully still producing paintings that challenge me and that people respond to. Finally, what advice would you give to aspiring painters? I always say the same thing: it takes talent, hard work, and perseverance. No young artist will ever succeed without belief in oneself and these three things in spades. <

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Andrew Salgado andrewsalgado.com

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NEIL  HOLDEN   ‘In  1979…tens  of   thousands  of  public-­‐workers   strike   in  the   beginning   of   what   becomes   known   as   the   "Winter   of   Discontent"   James  Callaghan's  government  looses  a  motion   of  confidence  by  one  vote,  forcing  a  general  election. The   Conservatives   wins   by   a   43-­‐seat   majority   making   Margaret   Thatcher   the  first   female   Prime   Minister   of   the   United   Kingdom.   Housing   Bill  gives   council   house   tenants   the   right   to   buy   their   homes.   Sid   Vicious,   the  former   Sex   Pistols  guitarist,   is  found  dead  in   New   York.   Trevor   Francis   signs   for   Nottingham   Forest   in   British   football's   first   £1   million  deal. Pink  Floyd’s  ‘Another  Brick   In  The  Wall’   replaced  the  Police’s     ‘Walking  On  The  Moon’  at   the  top  of  the  UK  music  chart  to   become   the   Christmas   number   1.   The   Deer   Hunter   wins   Oscar   for   best   picture.   Kelly   Brook,   Jamie   Cullum,   Pete   Doherty,   Sophie   Ellis-­‐Bextor,   Kate   Hudson,   Norah   Jones,   Heath   Ledger,   James   McAvoy,   Michael   Owen,   Pink,   Jonny   Wilkinson   and   Will   Young   are   born.   Daredevil  Eddie   Kidd   performs  an  80  ft  jump  on  a  motorcycle.  The  band  Spandau   Ballet  begins  to  play  under  this  name.  Ilfospeed  Multigrade   resin  coated  (RC)  paper  is  launched   in  the  UK.  I  enroll  at  17   onto  a  3year  College  Diploma  course  in  Advertising,  Editorial   and  Fashion  Photography   at   Bournemouth  &   Poole  College   of  Art  and  Design.     This  was  the  start  of  a  disastrous  financial   love  affair  with  photography,  which  has  unfortunately  lasted   on   and   off   until  this  day!   In  the  past,   one   of   my   previous   bank  managers,  too  numerous  to  mention,   advised  me  that   it  might  be  less  stressful  and  more  economical  if  I  just  stood   on   a   street   corner   and   gave   five   pound   notes   away   to   complete   strangers!   This  was  primarily   due  to  the  account   departments  of  various  fashion  PR  companies  I  was  shooting  

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for.   One  kindly   account   manager   took   the  time   to   explain   how   the   system   worked.   “All  creditors  names  went   into   a   hat.     At   the  end  of   every   month,   one   lucky   creditor   name   would   be   pulled   out   and   paid!   Any   body   who   chased   payment  or   complained,  their  name   did   not  go  in  the   hat!”   So  in  the  80’s  I  was  always  skint  and  had  to  scratch  around  to   find  any  lighting  I  could  blag,  steal  or  borrow.  On  a  good  day   I  worked  with   a  HMI  movie  light   and   on  a   bad   day   I  shot   using   candles.    All  you  need  is  a  lot  of  candles  and  a  mirror.   The  only   downside  when  shooting  beauty  is  that  it  is  bloody   hot  for  the  model  who   tend  to  sweat,  which   is  not   good   for   the   makeup   and   bloody   dangerous   when   using   hairspray!   Also  there  was  a  major   issue  with   hot  cascading  wax.  There   was   logic   behind   it!   If   it   was   good   enough   for   the   old   masters!   It   was  cheap,   no  electric  needed  and  heated  up  the   studio  /  living   room.     The  80’s   were   a  creative  period.   No   Photoshop!  All  the  work   was   done  in  the  camera  or   in  the   darkroom.  Everybody  was  looking  for  their  own  unique  style   and   would   try   any   crazy   idea   that   would   get   them   discovered.  Then  everybody  would  rip  off  the  style  and  head   over   to   Vogue.   Unfortunately,   Vogue   only   booked   Albert   Watson  or  Steven  Meisel. I  was  recently   asked  how  would  I  best   describe  myself   as  a   photographer.   I  suppose  an  optimistic   enthusiastic  amateur   with  a  professional  attitude.  Skint,  but  still  snapping  after  30   years  later.    I  now  live  in  Plymouth  and  am  currently  working   on  several  arts  health  projects  and  to  promote  photography   under   the   title   ‘One   Red   Dot’   working   closely   with   CHIK,   Community  Health  in  Keyham. I   also   grow   and   sell   spicy   baby   leaf   salad   and   lemon   cucumbers  from  the  Greenhouse  In  Devonport  Park  to  raise   wonga  for   the   Friends   of   Devonport   Park   and   I  have   just   become  the  Volunteer   Project   and  Promotions  Coordinator   for  Devonport  Guildhall  exhibitions. So  plenty  to  keep  me  busy.’

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Japanese illustrator Keita Sagaki has a distinctive style of illustration. He talked to us recently about this unique take on his art.

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I  would  like  to  thank  Peter  Guest  from  Image  Black  &  White  Photographic  Printers  for  pu;ng  up  with  me  for   over  3  decades  and  who  has  lovingly  processed  and  printed  all  of  black  and  white  work  by-­‐hand.  Adam  Togni   from  Silent-­‐G  for  all  his  help  and  guidance  with  all  my  digital  photography.  Alan  Toze  from  Adapt  Graphics  for   his  great  wealth  of  knowledge  of  litho  and  digital  prinFng.    Norm,  Norman  Holmes  from  Kaya  Gallery  in   Plymouth  for  all  the  beer,  olives  and  bread.  But  more  important  for  his  warmth  health,  support  and  for  being   a  great  mate.    NEIL  HOLDEN facebook.com/pages/Neil-­‐Holden-­‐Photographer 80

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the single life glyn davies Iâ&#x20AC;&#x2122;ve written before (in tribe #2, if youâ&#x20AC;&#x2122;re morbidly curious) about the continuing appeal of vinyl records and their surprising resurgence in the age of the digital download.

In that piece

it was mostly LPs and the artwork in which they were sheathed that was under discussion, followed by my own cod theories on why vinyl has been so resilient against all reasonable odds, the conclusion being that vinyl is still considered cool, sounds good and is aesthetically appealing as an item, something worth owning, keeping and collecting, as opposed to deeply faceless and impersonal digital

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downloads.

In the distant pre-digital past, when downloading any kind of

data took several weeks under strict laboratory conditions, if it was a short sharp fix of catchy pop you were after, the most effective way of getting it was to purchase it on a small, flat, black plastic disc.

When

you look at all the possible delivery media for pop music past and present, has there ever been anything quite as perfect as the 7-inch vinyl single?

While in most practical respects, the single is and has always been little more than a promotional tool for record companies to sell albums, it has nevertheless developed a life of its own over the past 60 years or so. Creating the perfect pop single has always been the holy grail for some musicians, a highly specialised musical artform that is very difficult to master fully.

The history of pop music is replete with moments where,

thanks to a sublime conjugation of songwriter, producer and artist, a certain alchemy occurred and a hit was created.

This kind of magic does

still happen, even in today’s micromanaged pop world, and has done so since the rock ‘n’ roll explosion of the 1950s, when this bothersome 45rpm interloper finally began to prove its worth both to those who bought music and those who sold it – small, cheap, less hassle to lug around and considerably more robust than the brittle 78s that had previously been the preferred single-play format.

The 1960s is generally regarded as the golden era of the single, from the post-Beatles preponderance of fresh-faced, squeaky-haired beat groups, through the innovative work of unhinged geniuses like Phil Spector and Joe Meek, to the soul and R’n’B classics that winged their way across the Atlantic from Detriot and Chicago, all aided and abetted by the pirate radio stations that kids were forced to tune in to, as the stuffy old broadcasting establishment, still trying to get off at Dunkirk, continued to look down its nose at this wretched pop phenomenon, dearly wishing it would just go away and get a sensible haircut.

Alas, the establishment was to be bitterly

disappointed, as pop would not only define youth culture throughout the final decades of the 20th century and beyond, but it would also give it its soundtrack.

And the haircuts would definitely get worse before they got

better. The 1970s, the decade in which brown inexplicably became the colour of choice for absolutely everything, was bookended by glam rock and punk respectively, two disparate musical movements which not only brought some riotous colour to what were otherwise drab times, but also relied upon the 7-inch single for their commercial traction, and in the case of punk,

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completely revitalised the format, introducing the wide-eyed music consumer to the wonders of coloured vinyl (“Any colour you like, as long as it’s phlegm.”).

The 1970s also brought us funk and disco, of course, although

funk was a mostly album-based genre, while disco, its brazenly perky offshoot, was largely responsible for another vinyl innovation, the 12-inch single, which, despite being a huge passion of mine, this article isn’t about.

More crucially, the 70s was responsible for what I believe to be the

greatest pop song ever written, ‘Hot Love’ by T. Rex.

Utterly subjective,

of course – your own reality will probably differ from mine – but to me, it’s absolutely perfect: it’s immediately catchy and hummable, the lyrics are complete gibberish, it ends with a sing-along chorus that goes on for several weeks and it was sung by a man so absurdly good looking, he had to die young simply to restore natural order to the cosmos.

Seriously, what’s

not to like?

The early 1980s heralded what was arguably the most creatively fertile era for pop music since the 1960s, and the single continued to thrive.

While

punk had very quickly dissipated into the more palatable sound of new wave, with its drainpipe jeans, skinny ties and power chords, the ripples it had left in its wake continued to be felt well into the next decade.

It was

also a remarkably diverse time, with no one genre or movement dictating the make-up of the Top 40 and, despite punk’s best efforts to strip rock ‘n’ roll of its vaingloriousness and glamour, marked the triumphant return of the truly flamboyant pop star, something which hadn’t been seen since the halcyon days of Marc Bolan and David Bowie nearly a decade earlier, and all of which was finely crafted to ensnare the young and create a generation of voracious music consumers.

And there was much to consume, as record companies employed increasingly nefarious ways to encourage music fans to part with their cash: along with vinyls in an increasingly revolting range of colours and patterns that made the mucus-inspired colourings of the punk era seem almost sedate by comparison, and a choice of several 12-inch remixes for the same song in a variety of different sleeves (we’ll chalk that little wheeze up to Frankie Goes To Hollywood), there was also – with a new generation of photogenic pop stars to exploit – the sonic aberration of the picture disc, a marketing device aimed purely at collectors, as they were virtually unlistenable as records.

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By the early 1990s, the vinyl single as a format was a spent force, its sales long surpassed, first by the cassette single and, later, the CD single.

The pop single itself continued unabated through another musically-

mixed era for pop, with dance music making its vibrant presence felt at the turn of the decade, Britpop and grunge ruling the airwaves through the middle – marking the permanent entry into the mainstream for indie and alternative music - before everything went horribly wrong in time for the turn of the new century, as the industry, in its desire to manipulate and control the charts absolutely, marketed out what little personality or meaning pop music still had left, trying to squeeze out those golden eggs even though the golden goose was long dead - only for people like Simon Cowell to resurrect it for their own egregious purposes.

The internet has helped to make things a little better than they were – allowing downloads into the charts has certainly made the Top 40 a lot more interesting than it was in the early 2000s, often turning it into a social media-led chaotic democracy, with official single releases sharing chart space with freakishly random tracks from every era and every conceivable genre, for no apparent reason.

The modern music fan is lucky enough to have

the whole of music history at their fingertips, and consumes music in ways which couldn’t have been imagined 20 or 30 years ago.

In the pre-digital days, the 7-inch single was traditionally a young person’s introduction to the intoxicating world of music; albums, being considerably more expensive, never came into the equation except as birthday and Christmas treats.

Singles were pocket-money priced and so were the

musical medium of choice for the pop-hungry teenager.

I was no different.

I didn’t start buying albums regularly until I was about 15 when, thanks to a paper round, I found myself with a comparatively generous disposable income.

Until then, I had only my weekly pocket-money, and that would only

stretch to a single - maybe two if I waited for a song to drop out of the Top 40 and into the bargain bin. single was usually good enough.

At that period in my life, however, a It was a three-minute musical injection

that kept you sated for a few weeks.

I still keep a tatty old shoebox next to my hi-fi, which is stuffed to the gills with about 200 singles.

These are the singles that, of the many

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hundreds I’ve bought or acquired over the past 30 years or so, are my absolute favourites, the ones I continue to play to this day and would form the contents of my mythical perfect jukebox.

The vast majority, as you

might expect of a 41-year-old, are from the 1980s; the oldest single in there is dated 1960, the most recent 1997.

It’s a fairly catholic mix of

eras and genres, and as such is fairly representative of my musical taste, which is unspeakable.

Don’t worry, I’m not going to waffle on about its

contents; this is emphatically not one of those articles.

You know the kind

of thing I mean: some cooler-than-thou hack trying to convince the world that the first single he ever bought was ‘London Calling’ by The Clash, when in reality it was probably ‘Some Girls’ by Racey.

Because, much as though

our carefully crafted self-image might want to pretend otherwise, nobody’s music taste arrives fully-formed, not to mention informed, straight from the womb.

We’ve all bought some hideous records in our time, especially when

our music taste was still in its formation process. fun.

That’s all part of the

It’s also one of the great paradoxes of pop music that a song can be

truly awful, and yet still be utterly brilliant.

One of the things I have always loved about singles is the lottery of the Bside.

In the early days of the single, the B-side usually enjoyed equal

billing with the A-side, and would often get a separate chart position until the rules were changed. In the 1950s, an artist’s albums were generally compilations of that year’s singles and B-sides, with perhaps a couple of extra tracks to make it worth buying for the more obsessive fans.

As the

decades moved on, and albums became more of a creative statement, B-sides increasingly became an afterthought for many artists, who would just slap on a song that didn’t make the final cut of the album.

Some artists, however,

put as much effort into their flip-sides as they did the main song. Sometimes you’d get a hidden gem that even surpassed the A-side, or perhaps just something a bit quirky that was outside the artist’s usual sphere. Most of the time, of course, the B-side would be utter drivel – a lot of songs don’t make the final cut of the album for good reason.

As the 1980s

wore on, instrumental versions of the A-side became increasingly common, and this was something I always felt a little bit cheated by, having parted with my pocket-money in good faith.

The 7-inch single is these days viewed by most people as a quaint curiosity, an archaic relic of the way we used to do things before we knew better, and of no more relevance to the modern age than a horse-drawn carriage or

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smallpox.

Who’s to say they’re not right?

Had I not grown up with them,

I’m certain I would have taken to downloads like a priest to whisky.

Vinyl

records are far from practical, after all, and take up a great deal of your living space, whereas a hard-drive does not.

A decade from now, or perhaps

even in five years, all physical media will be the sole province of nostalgic eccentrics like me who still get something out of “owning” music and movies.

But a record collection can often be like a time capsule.

There are many

items in mine that evoke certain memories, taking me right back to the time I bought them.

That hazy nostalgic fuzz descends, as I reflect on what was

going on in my life at that particular time. feeling; music does that to you.

It can sometimes be a powerful

I also have things in my music collection

that I have absolutely no recollection of getting hold of, and yet they still retain a certain importance; I’ve often no idea how or why I acquired a particular record at a particular time, I’m only glad that I did.

I have

records that I’ve nicked from parties, or rescued from the bedroom floors of friends who treated their records with less reverence than I did, or picked up at car-boot sales or in second hand shops.

Back in the early 90s, I was

often given huge stacks of vinyl by people who’d got rid of their record players and embraced newer technologies, because they knew I was “into music”.

This still happens to me now, only these days I’m given huge stacks

of CDs by people who’ve decided to stuff their entire music collection onto a hard-drive somewhere. treasure trove.

What some people regard as “clutter”, I view as a

Although finding storage space is always a real pain.

we suffer for our passions.

How

Personally, I think sagging shelves and wonky

floorboards are a small price to pay.

<

glyn@tribemagazine.org

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Ellen Jantzen ellenjantzen.com

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Interview by Hope Grimson

EVELYN KNIGHTLEY Evelyn is a young writer and poet, currently in the process of self-publishing her debut anthology 'I Haven't Lived At All.' As a self-published writer what has been the biggest challenges you have faced? A combination of a couple of things, the first being time. There never seem to be enough hours in the day to do everything you need to, and your to-do list becomes the last thing you think of at night and wakes you up at an inconsiderate time. The second would be realising how little you know, you can research into self-publishing as many times as you want, but it never fully prepares you for the real experience; the entire thing is a long learning curve and often feels like you're just making it all up as you go along. What sparked you to leave higher education to pursue your own writing? There were a few things that made me realise higher education just wasn't for me. I had just returned to University after taking a

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semester off, and I was so un-motivated and all I could think about was a story I had just started writing before returning. I became even more unfocused and there wasn't a single thing about University that I really enjoyed. I'd made the decision to not move away to university because I didn't want that to become my entire life, I eventually realised that it just wasn't my priority. I had changed my course choice a couple of times, Psychology always being my major and floating between English Literature and Anthropology as my minor. Everything about it didn't 'sit' well with me. I'm not out for the kind of career a degree can get me; I was simply buying myself more time to figure out what it was I was going to do. I spent one night with a friend talking about my options for hours, and the conversation just went round in circles as it was clear that I did not want to stay at University and writing was all I ever wanted to do, I had just been too scared to accept this for a long time. What advice would you give to anyone looking to pursue a career as a writer or a self-published author? Never expect help, but accept it when it's there. The process is hard, stressful (especially alongside full time work) and it can be isolating. It's easy to regret making the decision to publish your work, so it's important to keep yourself surrounded by people who will support you and remind you of all the positive things that can come from a process like this. There are many people out there who are going to doubt you and offer nothing but negativity, and that can be overwhelming, but you have to remember why you're doing it. For me, it's not to get everybody's approval and for everybody to love the book (although that would be good,) it's just something I felt like I needed to do- so any support or positive feedback is more than could have been expected. Sometimes you have to take a step back to fully appreciate everything that you're achieving; which leads me on to the final bit of advice- it's okay to be proud of yourself. Can you describe your creative process, what inspires you? Living is my biggest inspiration, closely followed by other creative arts. This is a clichĂŠ but I've always believed that the best way for me to improve and grow as a writer isn't by studying it in a structured form, but to learn about other things in life; reading as many books as you can, watching movies, listening to music, travelling and meeting new people. It's those experiences that differentiate one person from

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the next so I feel like the more I do those things the better my writing can be. I have no real structure to my writing, and I can't sit down and just decide to write- which makes the process quite slow at times, but it feels more organic. Inspiration usually hits me when I should be sleeping, I'll get a small image in my mind and it inspires me, and a story grows from there. Occasionally I'll have a dream and I can remember a tiny section of it, so I fill in the gaps myself. Sometimes, I just feel like I have something to say so that will either become a poem or the sentiments can be the basis for a character or story. You have your debut anthology â&#x20AC;&#x2DC;I havenâ&#x20AC;&#x2122;t lived at allâ&#x20AC;&#x2122;, a collection of poems and short stories; what issues and themes do you explore in this work? The most obvious theme is highlighted by the title, surviving and going through the motions rather than really living. There's a lot to do with expectations and disappointment, aspiration, growing up. The poems and stories themselves focus more on the individual and follow a change in attitude; acceptance of what has been and willingness to try for more. Overall, it's recognising that you're the main conductor of your life, but only if you allow yourself to be. You are also co-creator and blogger for the online Feminist magazine NAUSICA, does this influence your writing and the construction of your character? I'd have to say not really, or at least not as of yet. Feminism is something I'm incredibly passionate about, but Nausica allows me to express those feelings there, and there's yet to be a case where it's necessary for me to bring my own political or personal views into a piece of my writing. This hasn't been intentional, and it's not to say that my feminist views will never manifest into a character, but if it did happen I'd have to be careful not to alienate the reader and allow it to overshadow everything else. How has the internet and social media impacted your work, do you feel it makes it more accessible? Absolutely, the large majority of working on the book has taken place online, especially marketing and promotion. It's enabled me to connect with so many different people and it's a massive fountain of knowledge that I otherwise wouldn't have access to. It is also a

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brilliant procrastination tool, but I'm not sure how much of a good thing that is.

What are your plans for the future are you working on any new projects?

What has been the most enjoyable aspect of your

I've included an excerpt in the book from a story I

work thus far?

hope to publish in the future, although progress on this

I've recently found my book on the Waterstones

has been slow since my time has been taken up from

website; I think that has to be a highlight. It's one

releasing â&#x20AC;&#x2DC;I Have Not Lived At Allâ&#x20AC;&#x2122;. I started it about

thing to see your book in print, and finally being able

8 months ago and I'm still interested in it every time I

to hold my book was incredible, but Waterstones must

go back to writing it- so that's always a good sign. I

be my most visited shop and I'm able to spend so

really just hope that my future consists of releasing

many hours just browsing, so having my book on their

more books and continuing to enjoy writing. I'm also

website ticks so many of my boxes and is very hard to

interested in connecting with other writers, I've

believe! It's also been incredible getting feedback on

recently started reviewing books on my blog, so I'll

my work; thus far it's been so positive and

continue to do this and perhaps one day venture into

considering. I've always been too terrified to share my

the world of editing too. <

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NI.CO.LA

Extract from Fractured Fantasy By Evelyn Knightley ‘It was clear to see by her face that the mother had been badly hurt in the past. Her face itself did not appear to be aged, but there was a sadness in her eyes that never left and a harshness to her face that never lifted. As such, she had chosen to spend the rest of her life in solitude. She tried to instill this way of living into her Adrianna, reminding her that whilst she may feel lonely, it was only to protect her from being hurt. As Adrianna grew older, the tale of her mother’s woes was told more and more frequently. A tale of how she once loved a man, and a tale of how he almost killed her and Adrianna. At first, he appeared to be the man of her dreams. He would soon learn her secrets and was unwilling to accept her as she was. Underneath his smile, a cruel man was waiting to be unleashed and he relished in the opportunity she gave him. He saw her as undeserving of life, and so he took it into his own hands to rid her of it.’

evelynknightley.co.uk

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