GRAFFITI
ARTS
Below, John Nation (Bristol City Council) Right, SHAB in action; photo Neil James Brain
INKIE ON JOHN How do you know John? I know John from my days visiting and painting at Barton Hill Youth Club in the late 1980s; he has always been a key figure in the Bristol graffiti and music scene. What do you think about Graffiti Nation, and how do you feel about getting involved with the exhibition? I think it’s about time someone promoted the history of Bristol’s graffiti past and present – it should not be overlooked in favour of ‘street art’. What did the Barton Hill Dug Out mean to you? It was a place to take time experimenting with new and different styles in a legal environment, as well as a meeting place for writers from all around the globe. Was John instrumental in what you do today? John has always been a close friend, and his work at the Youth Club was definitely a help in my career. Anything else? Don’t forget about Lenny :-)* * Lenny was John’s dog; his name was referenced in a number of murals. During raids and arrests during the 1980s, the police regularly demanded to know who the elusive ‘Lenny’ was – much to the graff writers’ amusement
Upfest goes from strength to strength – but what happened to See No Evil? See No Evil was held in 2011 and 2012. It was only ever meant to be a one-off event, in 2011, but due to its success a second SNE did take place in 2012. Both were great events, and people keep asking if there will be another one – Inkie would be the man to ask on that front. As for Upfest going from strength to strength I totally agree with you; it’s now firmly established as an integral part of the Bristol social events calendar, but more importantly it is recognised and established as one of the biggest events of its kind in the world, and the team behind it should rightly be proud of that. I know how much hard work goes into pulling off an event of that size, so I doff my cap to all involved. Why did Bristol become such a major player on the international street art scene? Good question; it comes down to many JODY ON JOHN How do you know John? I first met John around 1987 at Barton Hill Youth Centre. I was a shy 15 year old with my GCSE art folder under my arm. At the time, I was trying to fuse my love of art and the thenunderground world of graffiti, and John jumped at this chance to showcase something that was a bit different. What do you think about Graffiti Nation? I immediately said I wanted to be involved when he invited me to be part of it. Graffiti Nation as a title is genius, really; given the current popularity of ‘street art’, which graffiti hadn’t fully evolved into back in the 1980s, this show will be a clear throwback
contributing factors. We have history, reputation, culture, the writers and artists past and present, large scale events like Upfest – the list is endless. But for me, there’s one huge factor that will always be paramount, and that’s Banksy. Some will disagree, but that’s what I honestly believe. Which Bristol areas are special to you? There are many areas of the city that are special to me. One will always hold a special place in my heart, though, and that is Barton Hill – it had a huge impact on my life. As for venues, again, there have been so many: The Dug Out Club, Princess Court, Western Star Domino Club, Moon Club and Trinity, which is where my wife Cath and I held our wedding reception party, Love Nation. Memories that we will never forget. Graffiti Nation shows at Upfest 18 April-12 May www.upfest.co.uk
to the old days of the underground scene. What did the Barton Hill Dug Out mean to you? It was a place that didn’t accept me fully to begin with – most of the graffiti guys begrudgingly liked what I did, but two very key people loved it, John, of course and SHAB, who is exhibiting in the show. They both saw the value and power of what I was trying to create. If it wasn’t for them, I might never have stuck it out. They gave me their stamp of approval, and the confidence to continue. So John was instrumental in what you do today? John gave me, and many other young artists, the support and outlet that just wasn’t available
anywhere else at the time. It was the late 1980s; pre-internet, premobile phones, very primitive times by today’s standards; but what none of us knew was that he was setting the foundations for a movement that would go underground during the ’90s and then explode in the 2000s with many of the original characters like Cheo, Inkie and myself making a living from painting, in the street art renaissance that we now know. Anything else? John built the foundation, but Banksy’s popularity has definitely played a part reaching the wider audience. The annual Upfest street art festival is proof that this is very much a Bristolorientated movement. But I’m biased, of course.
www.mediaclash.co.uk I BRISTOL LIFE I 37