Editor, Digital Creator Photographer & World Equal Designs
Shelley Rodgers is a former Associate Lecturer in art and photography, known for her work in the fashion industry. She founded World Equal, a trademarked company, and its publication, World Equal Magazine, which promotes inclusivity and diversity in the arts.Ms. Rodgers also established the Alternative Fashion Weeks in cities like Belfast, London, Edinburgh, and Newry. Her academic background includes a Bachelor of Arts with Honours in Fine Art and Applied Art, a Postgraduate Certificate in Further and Higher Education, and a Master of Fine Arts in Fine and Applied Arts. With over fifteen years of teaching photography at South Eastern Regional College in Northern Ireland, she has mentored many emerging artists. Her photography has appeared on the covers of over twenty publications, including Ulster Tatler and Northern Women.Born and raised in Northern Ireland, Ms. Rodgers's online publications evolved into live events called Alternative Fashion Week from 2013 to 2024. These events took place in venues like the Whitla Hall and the Europa Hotel, as well as London’s Piccadilly Square.
Corinne O'Neill
Partner at World Equal ®
Graphic Designer at World Equal. Owner & Founder at Mourneprints.com and Corinne O'Neill is an artist with over fifteen years of experience in metal smithing, embroidery textiles, drawing, painting & digital art /graphic design. A multi-talented lady. She runs and owns her company mourneprints.com and Thread Designz which specializes in personalized clothing and gifts. From digitizing the embroidery of her artwork, she has been running a popular stall at the famous St Georges Market in Belfast City Northern Ireland for nearly ten years.
Teddy
Hayes
Co Publisher & Partner at World Equal ®
Teddy Hayes is an accomplished author, songwriter, playwright, filmmaker, and film director. He was born in Cleveland, Ohio, and has enjoyed a 45-year career in the arts and entertainment sector, working in New York, Los Angeles, London, Rio de Janeiro, India, and Germany. Throughout his career, Teddy has collaborated with notable figures such as Quincy Jones, Melvin Van Peebles, Roberta Flack, Byron Cage, and boxing champion Mike Tyson, among many others. His extensive body of work includes fifteen books, three feature films, five musical stage plays, four stage dramas, and seventy music videos. Teddy has also been nominated for a Grammy Award. He is best known for his Harlem, New Yorkbased *Devil Barnett* detective series, which continues to be enjoyed by millions worldwide. Additionally, he has received a Lifetime Achievement Award from the World Equal Awards and a prestigious entertainment organization in London, U.K.
Skyler Jett
Partner at World Equal ®
Owner and Founder at musicforglobalchange.com
Skyler Jett leads the way as the Global Messenger in his quest to make the world a better place; with his musicforglobalchange.com platform as a driving force. This is done through songwriting, singing, and inspiring positive lyrical content within the genre of socially conscious music. He is an award winning, Grammy Recognised vocalist and one of the most sought after singer songwriters and vocal producers in the music industry today. Skyler s impressive resume includes some of the biggest recording artists of our time. His accolades include receiving a Grammy Award embossed plaque from NARAS for singing with Celine Dion on her Grammy winning hit song My Heart Will Go On, adapted from James Cameron s blockbuster hit film Titanic. This was also record of the year (1998) and is still the highest grossing movie theme song of all time. Prior to this Skyler succeeded in becoming the new front man for The Commodores after Lionel Ritchie s departure.
THE NEW ADDITION OF MAGBOOK
COMING DECEMBER 2024
The Business Of Art
Artists, like other creative professionals, have many and varied values and criteria by which they measure success
H enry Lydiate
Henry Lydiate is an art lawyer who has specialized in in legal and business matters relating to international art since becoming an English barrister. He is the founding partner of The Henry Lydiate Partnership LLP, the international business consultancy. His clients include artists, artist’s estates, collections, agents and dealers, art fairs, auction houses, foundations and public facing art institutions. His expertise includes art transactions, public facing museums, gallery management and development, international intellectual property and management and planning.
Recently World Equal’s co-publisher Teddy Hayes talked to Henry about his impressive career.
Teddy : Today I am talking to Henry Lydiate, one of the most successful and prominent art lawyers in the world. In fact, he's the go-to man and the guru for top players in the art world, when they want to know what's going on in the world of Art and how it relates to the law. Henry, welcome to World Equal magazine.
Henry: Thank you
Teddy: When I first heard your podcast on the art business, I was fascinated by how you got into the business as a lawyer. And I immediately identified with you because you say you were a songwriter and performer and you kind of went into another area, well… that's the same thing that happened with me. I wanted to be a musician and a singer. And I was okay, but I wasn't making enough money at it to pay my rent. As a result, I wound up making money as a writer and that kind of ballooned into me becoming a filmmaker. So, I really identified with your story. Tell us a little bit about that journey from the music world into the world of art.
Henry: Well Teddy, it goes back to when I was at university in the northeast of England in Newcastle upon Tyne which is very near the Scottish border. I was an undergraduate and my subject was law. But at the same time everyone who I was there with seemed to be involved in some way with the Arts or culture or music or whatever. And I found myself becoming involved with what we used to call the Social Secretary, who used to book bands and put bands on at the University. I was not in charge of that, but I was helping with booking bands and looking after bands when they arrived, and it was a really interesting scene. I was asked to do that because I was involved in as you just said, writing music, singing music, making my own way, at the same time as studying. You know everyone does something like that at college. So that's where I was at. But the people, the other students that were of most interest to me whilst I was at University were the students in at the Art School there. The law building was in an old quadrangle and we were at the north end of the quadrangle and all the lawyers went in there first thing every morning. But on the east side of a quadrangle was the Fine Arts Department. Every morning we law students would all troop in one way, to go to lectures and do whatever. And all these interesting people went the other way, and I thought these guys and girls looked really interesting to me, so I got to know them. To cut a long story short, they became my buddies rather than the lawyers there, but I continued with my studies and I continued with my music. What happened was eventually we all graduated. I thought what my artist friends were doing was really interesting and exciting.
I suspended the start of my legal career because I'd got involved with a local band which became a kind of University band and I became a producer and an arranger and because I also had the legal stuff I was also managing this band. I suspended my pursuit of going to the bar and becoming a trial lawyer, a barrister, in order to make some money to be able to fund my further legal studies.
The band went fulltime and it was great. We were a three-piece band plus me and we became really successful. It was fantastic and successful to the point where we were approached by George Martin and his people. The Beatles had just broken up and George Martin had produced them. He then set up his own independent production company and he was looking for new unsigned bands and we were a new unsigned band. And George and his people said “Come, and join us. Will you sign a deal?” and we signed a production deal. To cut a long story short, we made an album with George and his people in Abbey Road in the Beatles Studio, which was amazing and we were doing really well and making some money and all that stuff. Anyway to cut a long story short, the band fell apart as bands always do.
Teddy : They do, yeah.
Henry: One guy went one way, one guy went another way. I went and thought right well, I've got some money now, I can go to the bar, to hell with the music industry. People were still chasing me and saying “Henry, you were doing great things, come and join us, be involved.” But I was saying no, I'm gonna be a lawyer. I became a bar student and then a Barrister. But I was in London and I hooked up again with my art school buddies from University. They had also moved down to London to do their kind of MFA Masters or set up their own practices and studios, because all artists’ roads led to London at that time and we hung out together. And they realized that I could be their go-to lawyer because they were beginning to need legal advice and help and support to make their way. To cut a long story short, therefore Teddy, that's how they turned me into an artist lawyer.
Teddy : (Laughs) That's a great story.
Henry: I was their lawyer, that's how I got started and that was it. You talk about me being the go-to lawyer. At that time, we're talking about the 1970s here, I was the only person that I knew who was doing this art law stuff. There was no one else.
Teddy : And you had the field to yourself?
Henry: I had the field to myself and those artists taught me what they needed and I began to become experienced in and successful in helping them. Initially, I was doing it pro bono because no one had any money and then eventually it led to a career.
Teddy : I mean that's a great story because so many people think that the road to success is always direct, but it often is not.
Henry: No, it's not,
Teddy : One of the things that that really impressed me when I heard your interview is that you say you look to help undiscovered artists. How do you do that? If you see an undiscovered artist, how would you help them?
Henry: Well I can say that I'm still passionate about some of those artists that I started out with and some of them have become really culturally and financially quite successful. But they don't use me anymore because they don't need me anymore, they can afford the big law firms or whatever it may be. I'm very proud that I was able to give them help when they were starting out, but I've continued to have this passion for helping those starting out or undiscovered or unknown because that's the area where they need help most when they can't really afford it, and they need someone to be able to understand the kind of work they're interested in. and the young unknown emerging artist doesn't want to repeat or to plagiarise anybody else.
And often, the young unknown or unrecognized artist is doing quite difficult and challenging work. I've learned that visual artists are always striving not to repeat anybody else's work. You know as a musician you're noodling around with something on your guitar or keyboard or whatever and often you say to a buddy who's in the room what does that sound like? Am I repeating someone else’s stuff? You know what I mean because you absorb things and you don't quite know whether you're reworking somebody else. Well, the visual artist is the same. Most visual artists know about art history, it's been there for a thousand years or more They want to make their own way and often that means they're making difficult and challenging and often shocking subject matter and they need some kind of support to help them to get through that. So I still do that and what happens Teddy, is I’m not really a go-to for the industry, I’m a go-to for artists. I don't advertise myself, I don't market myself. It's word of mouth. The artists tell each other, that's the way it works.
Teddy: I’ve talked to a few artists and all of them want to get into galleries, they want to have a gallery showing and obviously they want to have it in London. What is the hardest part of getting a new or unknown artist a gallery showing or recognized enough to get a gallery showing?
Henry: Funnily enough, I had a consultation with two artists two days ago who were working together in a building which was an artist studio kind of building, a complex which had maybe a dozen spaces for artists to be in. Somebody had set it up to be very low cost for artists and they'd met each other there. The owners of this artist studio operation had said to them “ what you guys could do with is help from Henry, because Henry has not only helped us to set up this studio building right”, which I'd helped them to do some a few years ago “we think he'll be able to help you.” So I had a consultation with the two of them, and they asked me the same question that you've just asked me. I said a way forward is always to think about not doing it on your own, but actually start working with other fellow artists or other peers that have the same needs for either exposure and possible sales, but exposure is the most important thing when you've made work that you're ready to show. There is a lot of art historical precedence for young artists (maybe not young in terms of age, but young in terms of growth) getting together and sticking together and supporting each other in some way and critiquing each other's work and encouraging each other. And then organizing shows together. They might just get an empty building or an empty shop in a rundown part of town or whatever it may be to have a show and then invite all the people that you want to come, like would be buyers, whether it be the Saatchi’s or whoever and the critics and the newspapers and get them all to come along, you know, as best you can. Frankly, forgive my French, but you can bullshit them that someone else is coming or whatever, you need to hustle. If you work collectively together that's often a good way to start. When I say there are loads of precedents, for example I was saying to these artists the other day that if you think about the original seminal Impressionists that everyone in the world knows about, the Manets and the Monets and the Pissarros and all that stuff, they were making work that was unacceptable, it was groundbreaking. And they put themselves together as a little collective group and were working together and there was just about six of them. Manet was the oldest and he was like 31 years of age and everyone else was younger and the others were all in their 20s and they wanted to put their work into an annual established exhibition and they were refused, everyone knows the story. And they went well, what are we gonna do? Well, we're gonna show our work in a nearby building and that was the beginning of that movement. uying a camera to make visual moving images was ridiculous.
And then 100 years or so later Damian Hirst together with other people who were in their final year at Goldsmith's College in London in the Fine Art department, they decided to have their own show. They didn't rely upon the art school, they did it themselves. They found a building. They found some space in London and they invited as many people as they could, bullshitting along the way and many of those artists are now household names in the contemporary Art world because they did it themselves.
Teddy: That is great advice. Another interesting thing for me is that you've been around a while so you've seen a lot of changes. What would you say is the biggest change in the past 20 years in the art world?
Henry: Digitalization. But whatever the changes are in our society, in my experience, artists either embrace those changes and build them into their practice, or they're kind of at the cutting edge of those technological or resourcebased developments that they build into their work. So 20 years ago, it was the dawning of the digital age and the worldwide web was in its infancy, and so were computers and you know as a filmmaker the cost of buying a camera to make visual moving images was ridiculous.
Teddy : Yeah. Now you do it on your phone.
Henry: Exactly. So I think that's been the major change, artists embracing digital technology, sometimes where the work is made solely as a digital file and sometimes they make a physical handmade work but then they use digital technology to take a digital image of it and they market the image. Do you see what I mean? So the image is not born digital, it just is a way of advertising or marketing it.
Teddy : And that brings us to something else that people are very concerned about as you well know, about how can an artist once they puts their work into that digital place, how does one protect it, especially with AI and all of that?
Henry: Well, there are two things that I would say Teddy. One is how do you protect it and then obviously my response will lead on to AI. So it's kind of like have you got three hours? Okay. But I would say this. There is an internationally agreed convention…
Teddy : Yeah, the copyright convention.
Henry: The copyright convention. It's called the Berne convention, okay, which was formulated and signed in 1886 and it's still around and most countries in the world have signed up to it in some way shape or form. Okay. And what that does, it says that each country that signed up to it, and nearly all countries have done that, each country passes its own legislation following the standards agreed in the International Convention. So there's a kind of standard form although there are variations within each country, but basically there are common standards as you know and the important thing is that there were two things that the Berne convention did and still does today. One is that it has common standards as I've just said, but secondly it also enables you, the owner of the copyright, to enforce the copyright in all the other countries in the world that have signed the convention. You've got International enforcement, yeah. So, how does it work? The Berne convention says as soon as the author, in our case the visual artist or in your case the filmmaker , the singer songwriter or whatever, as soon as they make a work, as long as it's in some kind of fixed form that’s not ephemeral but is on celluloid or a digital file or in words or whatever it is, if it's fixed then as soon as it's done, the author automatically becomes the owner of the copyright unless they're an employee.
Teddy : Yes, unless they have pre-sold it like for publishing or something like that.
Henry: Yeah, or if they create the work as part of their job.
Teddy : As a work for hire kind of thing.
Henry: Yeah, exactly. But the important thing about it under the Berne convention is that the work cannot get the automatic protection, if it's a rip-off of somebody else's work.
Teddy : Now this becomes very interesting and the people who are making art can become almost obsessed with it because they don't want people to copy their stuff but it's a catch 22 because really the internet is the way to go for people to see your work.
Henry: And if they see your work they can rip it off, right? Getting back to where we were talking about Berne, you automatically become the copyright owner of your work, so long as you haven't ripped off somebody else. So there are two things of relevance here before I then move on to talk to you about AI, which is this. If you create the new work, but don't rip anybody else off, you become the copyright owner of your new work. If you use somebody else's work, you don't become the copyright owner of the work that you've done because you've ripped someone else off, and if you’ve ripped somebody else off, they have the right to be able to kick your ass.
Teddy : Yes, yes.
Henry: Right. And that feeds into AI because what these AI, ChatGPT or whatever it may be platforms do, is that they search visual art terms, and visual art images on the web, and they “scrape” those images back into their own software and they train their AI software with those images. And then they make that software available to users like you and me or anybody else who can type a prompt in to the software to say, I want to create a subject…an image a painting or whatever that looks like a dog, a cat, a car whatever in the style of Picasso or van Gogh or any contemporary artist. And then the software uses what it's scraped to come up with something, some suggestion. It then feeds back to the customer. Okay, two problems arise.
Damian Hirst together with other people who were in their final year at Goldsmith's College in London in the Fine Art department, they decided to have their own show. They didn't rely upon the art school, they did it themselves.
One is when the AI software scrapes, in other words copies somebody's image, they are violating their copyright. And what's more when they've used those images to create something new for the customer then it's the software that's created the work, not the customer and therefore the work has been created by a machine. And under the Berne convention, copyright only exists if the work is created by a human. So with AI we've got two problems. One is that visual artists and others- musicians, filmmakers etc. are kicking the ass or bringing lawsuits against the AI platforms for scraping their work without their permission. And the second problem is that if the work is produced wholly by the AI, it doesn't carry a copyright. So those are two major issues that are emerging this past year. It's all began to come to a head during the last year and it remains to be seen where it's going to go, what we're going to do about it.
Teddy : That's very interesting and it’s obviously the big concern of everyone.
Henry: It is.
Teddy : In the past, an art critic would review an artist’s work and say okay this artist is good, or this artist is bad or whatever and people would follow that. Now with the internet, does the art critic have that same kind of power?
Henry: It's hard to say. I don't know that I'm competent to answer that, but the impression that I've got from my work is that the critics that write about work don't write nowadays in the art media about whether work is good, bad, or indifferent so much as they would in times past. But the so-called critics who regularly write about art usually write in a more descriptive way rather than in a critical analytical way. So I think that the art media, either newspapers, journals, magazines or blogs usually cover art that is either established and they've got an angle on,
I would say also that what might have not quite replaced the oldfashioned critic is that there are a large number of organizations or businesses that track the performance of art in the marketplace whether it's being sold in auction for a high or low price, whether it’s doing well or not doing well, whether for recent contemporary art or whether it be indeed old masters or antiquities. So, there's a lot in the aor it's new and is some kind of… if you like sensational is the wrong word, challenging, interestingly challenging work rather than saying it's good, bad or indifferent. art business that tracks not what the critics are saying, but the way works or artists are performing in the marketplace. And I think that because of the internet and there's a lot more information that can be gathered about sales around the world and about what's doing well and what's not doing well and because there are many more vehicles in terms of the blogs or platforms or trackers, I think that they have begun to occupy more of the space and they have more of an influence than perhaps the individual critics used to have in the early 20th century or in the pre-digital era of the art.
Teddy : Okay, that's interesting because one of the things I was thinking is in the past I know if there was scarcity in anything then the value can go up, but if a lot of people are seeing it, it is kind of a double-edged sword. More people know about it but does the value go up or down because it's more accessible?
Henry: I think that you put your finger on something that is really very important and very significant and very telling, Teddy. I think that in terms of either the marketplace or a museum, gallery or institution collecting work, whether you're talking about the Museum of Modern Art, New York or the Tate or the Stedelijk in Amsterdam or whatever, those institutions that actually acquire and exhibit works or collectors who buy them, it's always been the case and still is the case, that the unique object, or the unique image is still what drives whether or not prices are going to be paid for the scarcity or the unique nature or the limited edition. Whether it's a series of prints or photographs, or a one off, scarcity is kind of the elephant in the room that affects, I won't say it drives, but it affects decisions made about buying work or acquiring work.
Teddy: So who are the gatekeepers who determine which artists are seen, bought and sold?
Henry: Some art dealers who buy and sell work act simply as agents and say to an artist, I'll find you a buyer and some dealers have actual gallery premises that show work and with a view to it being sold, and those dealers and agents have a strong influence over whether or not an artist's work is going to be bought. The other aspect of gate keeping is the actual collectors who are interested in buying the work, they are gatekeepers because they've paid money. And there's another kind of gatekeeper which is the door through which artists can be recognized or seen - the institutions, the museum and gallery collections those institutions that are interested in either showing new artist work or indeed acquiring it. Sometimes they can't afford to buy them because they're a public facing institution but they might say to the artist or the artist’s dealer, “We'd like to put on a show of your work because we think it's culturally worthy of being shown to the public.” So, they're kind of gatekeepers in the sense that they decide whether or not their institution is almost critically approving of this new artist's work and they're taking a chance or a risk in doing so to see how the viewing public might react.
Then the third element in the marketplace are those people who we might call high net worth individuals, rich guys and gals who buy art as an investment, an asset and that can cause an artist or the work of an artist to be seen in the marketplace because good money or significant money has been spent, but it doesn't mean to say that the buyer thinks it's good work.
Teddy : He thinks it's a valuable work and an investment.
Henry: Yes. They think they can flip it over and make money, so that's on the marketplace side of things. And then on the non- marketplace side, we'll call it the cultural side of things. The institutions, your Tates and your Museum of Modern Arts, they can show work for the first time that's never really been seen before. And the question is, do the guys and girls in the marketplace look at work that's in the institutions and go, ah, the Tate is showing this new artist, we might get interested in exhibiting and selling their work. Or do the institutions look at the art marketplace and say this artist is showing in the marketplace, maybe we ought to show it in our institution? So, there's an inter-relationship and an interdependency if you will between the two values that are placed on art which is market value and cultural value.
Teddy : Yeah, thanks Henry. One other thing. I have looked for books by you on the internet, and there's not nearly enough of them on there! I saw one which is the Creative Act Revisited, New Ways of Working, New Challenges, but that's the only one I saw. And to my way of thinking what you have to say is very relevant, why don't you have ebooks?
Henry: Because first of all, there's no money in publishing online. You would know that better than me. I need to make a living and I'd rather spend my time either dealing with clients and I have always done some kind of teaching or training. I'd rather do that than spend my time on writing publications. The other side of it is I do write regularly and the thing is that with my subject area and the way it is, it's a movable feast. It's changing all the time and the challenge for me is to keep up to speed on the changes. And so, if you write something capturing a moment in time…
The Beatles had just broken up and George Martin had produced them. He then set up his own independent production company and he was looking for new unsigned bands and we were a new unsigned band. And George and his people said “Come, and join us.
Teddy : You're absolutely right. I mean in my case I don't have to worry about that. I write a novel that's it. They take it or they don't. And it'll always be good or but yeah, you're absolutely right. Henry: Whereas my material, what I do has to be relevant to now… to today. The other thing that's relevant is I don't regard myself as an academic.
Teddy : I think that's a great thing because people who are academics often times don't see the forest for the trees. They're making theories and arguments, but at the bottom line is like you say; here is a product that people want or don't want to buy. And there are people's lives who are affected by that and how one brings all that together, and that is what you do.
Henry: Correct. Yeah, well I try to. As I often say to my partners and to my clients and I said this to those two young artists the other day who were saying “Wow what you've just said is great, it's really good. I'm so inspired.” And I found myself saying “hang on a minute guys. I am not the Oracle.”
Teddy : But again, Henry we're in the world now and this is so interesting to me having been out there, beating the pavement year after year. The internet comes along and some guy in a clean shirt says, “This is the way you do it.” And everybody believes him, and you go “but wait guys, there's nobody who knows exactly how to do it.” And the guy in the clean shirt says, “Let's look at the statistics.” And then I say “guys look, Hollywood has more statisticians than anybody and they still get it wrong 90% of the time (laughs).
Henry: Absolutely right. Yeah. As I often say to the artists that I deal with, you are not qualified to judge whether you are God's greatest gift to the art world, that will be decided by the art world after you're dead and gone. So, what you need to do my friends is do your best work, have fun, just do it.
Teddy: Years ago, I met Quincy Jones, and I was doing a project with him, and he said something I'll never forget, he says “Don't try to get over, just try to get better.” And I said that's some of the best advice I ever received because all you can do when you do what you do is you can put it out there and hope for the best.
Henry: But what I feel privileged to have done all my career and still do with my clients or indeed with my students is that I want to make a contribution to helping them to do whatever it is they want to do if I can be of help. So, my job is to be of service to them.
Teddy: Yeah. Henry, you put them in the armour. You tell them what the fight's about, and say now you have to go out and do battle.
Henry: Well hopefully, yeah. I try.
Teddy: Yeah. Well Henry thank you so much, I’ve really enjoyed it, so let’s talk again and if you're around London sometimes, let's get together for a coffee.
Henry: Why not! That would be good.
So with AI we've got two problems. One is that visual artists and others- musicians, filmmakers etc. are kicking the ass or bringing lawsuits against the AI platforms for scraping their work without their permission. And the second problem is that if the work is produced wholly by the AI, it doesn't carry a copyright
EVENTS
BELFAST 2016 ALTERNATIVE FASHION
I wanted to bring people from all walks of life and trends together, to be diversely inclusive
All the survivors and those living with cancer have a story to tell. We believe that everyone who participates in our sessions will take something away with them that will enrich their lives
Photographer: Bernie McAllister Butterfly concept and design orchestrated by Blades and Beauty, Hair & Make Up Catriona Matthews Channing with her Blades and Beauty Team including Paula Graffin
Left to Right: Conor Cormac Davidson, Connie Barenskie, Emma Gilles of Crafty, Mother and Daughter Lani & Jess. Photographer: Conor Kerr
EVENTS
BAFW, widely recognized as Belfast Alternative was established to forge strong connections among like-minded creatives and artists. In 2016, World Equal celebrated the invaluable support from its sponsors, particularly highlighting Mrs. Julia Clements, the esteemed head of Makeup for BAFW, whose contributions have been vital since the project's inception, alongside Emma Gilles of Crafty Belfast.
Shelley Rodgers, the founder and Creative Director, courageously brought to life three remarkable events in 2016: Fairytale & Gore at The Great Elmwood Hall, Body Art at the Europa, and
These events were not only successful but also embodied a commitment to eco-friendly practices, showcasing how the artistic community is adapting to a changing world.
World Equal provided a powerful platform for artists and creatives to express their interpretations of these transformations in real time. A key objective was to cultivate an environment that drives growth within the alternative creative scene. World Equal extends its best wishes to all colleagues and participants who connected through the BAFW project in 2016. Many have gone on to create exceptional work, build thriving careers, and initiate groundbreaking projects. The impact of this initiative continues to resonate, and its legacy is poised for further greatness.
AlternativeChic...
Audio Visual at Queen's Mandel Hall.
REVENTS
obert King SFX Robert embarked on a transformative journey into the world of makeup through a specialized course in special effects and theatrical makeup at SERC in Lisburn a couple of years ago. Although the course did not entirely meet his expectations, it provided him with essential materials and tools to cultivate his skills independently. Driven by curiosity and creativity, he immersed himself in YouTube tutorials, experimenting with various techniques that fueled his artistry.
The course opened doors to remarkable opportunities for Robert. He had the privilege of contributing his makeup skills to enchanting productions like "Sister Act" and the iconic "West Side Story" at the Grand Opera House, igniting his passion for bringing characters to life on stage. He was then honored to be the sole makeup artist for "Eternal Love," a theatrical production at the Lyric Theatre. This exhilarating and challenging role pushed him to rise to the occasion and showcase his abilities.
Fully committing to his newfound path, Robert left the mundane world of retail behind to passionately pursue a career in makeup. He currently works in children’s entertainment, delighting young audiences as a face painter and character performer. Additionally, he freelances, offering his expertise in makeup for short films, theatre productions, and personal applications, cherishing each opportunity to create memorable looks. The creative possibilities within makeup artistry inspire Robert, as he has the power to transform appearances in astonishing ways. His most recent project, "The Wizard of Oz," stands out as a remarkable experience, featuring a talented team that brought the magic of the story to life. As a horror enthusiast, he thrives on crafting elaborate wounds, cuts, and all things gory, using makeup as a medium to explore the depths of creativity. He was also privileged to showcase his work at Belfast Alternative Fashion Week in 2016, a vibrant celebration of innovation that underscores his dedication and passion for this dynamic field.
As a horror enthusiast, he thrives on crafting elaborate wounds, cuts, and all things gory, using makeup as a medium to explore the depths of creativity
jaw dropping, breath taking and inspirational show has carved a bright new future out for itself and all of those Involved......
EVENTS
LONDON 2017
The inaugural Belfast Alternative Fashion Week, held
in 2016, achieved remarkable success, setting the stage for the highly anticipated launch of the London Alternative Fashion Week (LAFW) at the iconic Piccadilly Circus. This vibrant and groundbreaking event quickly captivated audiences, with its debut show selling out, highlighting the Belfast initiative's significance and marking a transformative milestone for an array of creative artists, visionary fashion designers, and progressive thinkers eager to reshape the fashion landscape.
As a global beacon of multiculturalism, London embodies the principles of diversity and inclusivity, making it an exceptionally fitting venue for EQUAL EVENTS to orchestrate an alternative fashion show that beautifully blended the creative expressions of both Ireland and England. This convergence of artistic talent fostered a rich tapestry of cultural exchange, showcasing the best of both regions.
At the heart of this transformative experience was Shelley, a passionate advocate for alternative fashion, whose journey was marked by significant personal and professional growth. Her awe-inspiring sold-out show in London was characterized as "unforgettable and intensely moving," reflecting the collective energy of the alternative fashion sector, which flourishes on its rich diversity, enhancing artistic expression, and igniting innovation. To illustrate this vibrancy, Shelley drew a parallel between the show and "The Great Barrier Reef," emphasizing its breathtaking aesthetics that arise from a stunning array of backgrounds, shapes, sizes, colors, and creeds—akin to the myriad species sustaining the reef's delicate ecosystem.
EVENTS ALTERNATIVE FASHION
Within this dynamic environment, designers—from those with commercial aspirations to those driven by creative instincts—showcased their unique talents in a competitive yet profoundly respectful atmosphere. This setting encouraged mutual inspiration and support, creating an infectious sense of camaraderie among participants. The event attracted considerable attention from the celebrity realm, with icons like 80’s pop star Sinitta dazzling the runway, presenting the prestigious EQUAL AWARDS alongside the charismatic actor Kamil Lemie, recognized for his role in "Guy Ritchie's" productions. This celebration reaffirmed the vital role that diversity and creativity play in revitalizing the fashion industry. The event featured a dynamic mix of attendees, including notable figures such as Celebrity Big Brother winner and MMA fighter Alex Reid, popular reality star Karen Chamberlan, and X Factor finalist Amrick Channa. Additionally, performers, including talented body artists and the comedic wit of Tom Ward, captivated the audience and set the tone for an extraordinary showcase of creative fashion.
Attendees received thoughtfully curated goody bags from sponsors Paws 2 Rescue, with Ricky Gervais as a dedicated patron, alongside K9 Angels dog charity. Sponsors like Jeeva Natural, purveyors of King Coconut Water, triumphantly secured a coveted position for their organic product within Harrods after competing against over 70 other brands.
One attendee drew a vivid comparison between the electric atmosphere of this event and the legendary spirit of Woodstock or the vibrant origins of Glastonbury, encapsulating the sense of a momentous occasion where creativity and passion thrived in unison. The excitement felt during this inspiring event continues to resonate with all who were present.
As this extraordinary journey unfolds, stakeholders look forward to future developments with eager anticipation, embracing a philosophy that champions authenticity and celebrates the freedom of creative expression—principles that hold significant relevance in today’s rapidly evolving cultural landscape.
Model: Leah Nelthorpe Body Painter: Vanessa Hider Photographer: Ed Fielding
NEWRY
Alternative Fashion Week 2018
The year culminated in Newry with a lively Halloween celebration, further enhancing the initiative's success. This enchanting event attracted a stellar lineup of designers, models, and actors from London, infusing an exhilarating energy into the atmosphere. The synergy created by local makeup artists collaborating with models and prominent London celebrities added a unique flair, enriching the experience for everyone involved The evening began with a mesmerizing performance by the esteemed Irish singer and harpist Brona McVittie. Her ethereal harp compositions enveloped the audience, casting a spell of tranquility before the festivities heated up.
Following her enchanting set, the talented magician JSPADES took the stage, entertaining the crowd with his astonishing illusions and lively tricks, setting a playful tone for the night.
Designer: Pink Octopus
Local designer Titanic Denim and Amsterdam's innovative designer LesTere unveiled their creative collections, each showcasing a blend of originality and craftsmanship that left attendees in awe. The charming actor George Newton graced the runway with several standout appearances, effortlessly captivating the audience.
As the night progressed, the event reached its climax with an electrifying performance by singer Amrick Channa. His high-energy rendition of popular dance songs invited audience participation, ensuring a joyous and memorable experience for all who attended. The inaugural "Newry Fashion Week" hinted at promising prospects for future fashion showcases. The city’s strategic location nestled within the fashion triangle of London, Belfast, and Dublin offers an ideal setting, providing easy access for both local and international visitors. With this in mind, World Equal eagerly anticipates the opportunity to return to Newry for a second show in the future, building on the success of this vibrant initiative.
Newry like never before leaps forward with alternative fashion week with a Halloween extravaganza to a captivated audience in Canal Court Hotel & Spa
EQUAL
URBAN CATWALK
Hollywood Culture Night made a powerful return for its second year, attracting enthusiastic crowds eager to experience the dynamic streetwear on display. Local designer Titanic Denim took center stage, and as the stars twinkled in the twilight sky, the atmosphere pulsed with excitement. As darkness settled in, the new LED streetlights brilliantly illuminated the runway, captivating the audience. The perfect timing created the impression that the streetlights were alive, heightening the thrill of the evening. This family-friendly event boldly featured a children's clothing line, showcasing the creativity that inspires the next generation. The audience came together, dancing in unison as the models confidently showcased their stylish, eco-friendly Titanic Denim streetwear, moving rhythmically to the infectious music. With rapturous applause and radiant smiles, it was evident that the night was drawing to an impressive conclusion.
With local designer TITANIC DENIM taking centre road/stage the stars began to dazzle in the twilight sky
Make Up Team: Julia Clements with Marie Tierney O’Brien, Deirdre Tierney McTaggart, Sandra Pina and Caóllan McCauley Michelle McKnight on Hair
Make Up Team: Julia Clements with Marie Tierney O’Brien, Deirdre Tier-ney McTaggart, Sandra Pina and Caóllan McCauley Michelle McKnight on Hair Designer: Titanic Denim. Photographer: Warren Blair
Make Up Team: Julia Clements with Marie Tierney O’Brien, Deirdre Tierney McTaggart, Sandra Pina and Caóllan McCauley Michelle McKnight on Hair
Designer: Titanic Denim.
Photographer: Warren Blair
Model: Chrissy Loh Ks
Make Up Team: Julia Clements with Marie Tierney O’Brien, Deirdre Tierney McTaggart, Sandra Pina and Caóllan McCauley
Michelle McKnight on Hair Designer: Titanic Denim. Photographer: Warren Blair Model: AJ Lynn
Make Up Team: Julia Clements with Marie Tierney O’Brien, Deirdre Tierney McTaggart, Sandra Pina and Caóllan McCauley Michelle McKnight
Designer: Titanic Denim.
Photographer: Warren Blair
Model: Ana Zens
Make Up Team: Julia Clements with Marie Tierney O’Brien, Deirdre Tierney McTaggart, Sandra Pina and Caóllan
Edinburgh Alternative Fashion Week was held at the esteemed Le Monde on George Street, was a remarkable success, attracting a full audience eager to participate. The event received prime-time coverage from STV, Scotland’s leading news channel, underscoring its significance within the fashion industry.
Designers offered their enthusiastic praise for the event, describing it as a groundbreaking opportunity for alternative fashion in Scotland, as it provided a platform for their innovative styles to be presented on a professional runway. The atmosphere was charged with excitement as models skillfully showcased their collections, receiving enthusiastic applause for their performances. The day proceeded without difficulties, demonstrating a wide diversity in both the designs and the models, while the exceptional setting of Le Monde enriched the overall experience through its outstanding presentation and gracious ambiance.
EQUAL expressed its satisfaction regarding the decision made by Miss Aleah Leigh, the organizer of London Alternative Fashion Week, to appoint Claire Tough—referred to as the Bonnie Lass of Scotland—to oversee the organization of Edinburgh Alternative Fashion Week. Claire’s diligent attention to detail and passion for fashion were key factors in ensuring the success of this inaugural event. Congratulations to Claire. There is great anticipation for future events at this distinguished venue.
The collaboration of skilled professionals in hair and makeup further enhanced the event's overall glamour. Marianna Colette from Glasgow designed exquisite hairstyles that harmonized with the distinct outfits, while Debbie Lawrie led the makeup team with proficiency, ensuring that each model exuded confidence. Michael Holms provided expert barbering services, contributing to a dedicated team of creative individuals.
The runway showcased a diverse range of designers and models from across the globe. Priestley and West Milliners presented exceptional hat collections, with Priestley’s designs frequently featured at Royal Ascot. Nana Lola Couture from the United States offered fashionable garments for all body types, celebrating diversity and beauty.
Rauer Couture, based in Scotland, captivated audiences with an impressive collection of avantgarde gowns, while Leven from Scotland added to the visual spectacle, rendering the event truly memorable.
BAFW
BELFAST CASTLE
FEB 2019
Before the pandemic, Belfast Alternative Fashion Week (BAFW) hosted two shows that showcased a commitment to ethical fashion deeply rooted in diversity and inclusivity. Following a successful inaugural event in Belfast City in 2016, BAFW returned to the majestic Belfast Castle, which provides stunning views of the vibrant city below. The Chichester Ballroom was transformed into an artistic hub where fashion, visual art, and live music came together to create a captivating spectacle. The ballroom featured remarkable artworks by renowned Irish artists Alan Quigley and Terry Bradley, offering a striking backdrop for an unforgettable runway show.
This year’s events highlighted a diverse array of local and London-based designers and performers, many of whom were part of the LGBTQ community, marking a significant moment in Northern Ireland's fashion history. Main sponsor Josh Mayhook presented unique designs for LGBTQ models, emphasizing creativity and boldness.
The evening commenced with an electrifying performance by the local band VALE, whose original compositions resonated throughout the ballroom, setting an energetic tone. The beloved folk band Na Leannai followed, enchanting the audience with their melodic sounds and traditional rhythms, adding rich cultural depth to the event. Rising star James Kennedy captivated the crowd with powerful original songs, while Amrick Channa brought a dynamic flair with engaging dance hits that got everyone moving.
The runway was a dazzling display of creativity, featuring standout collections that impressed the audience. Bruno Tilley launched his debut collection of graphic T-shirts from his new label, Aware.zone, merging striking visuals with innovative fashion narratives. Jenny Lindolp’s bridal collection elicited gasps of awe as her ethereal wedding dresses flowed gracefully down the catwalk, each piece a testament to her artistry. Doris Hermann showcased exquisite jewelry crafted from recycled metal, underscoring the importance of sustainability in fashion.
Jayne Molloy surprised the audience with her quirky, imaginative designs, while Julia Knight wowed attendees with elegant gowns featuring intricate details and luxurious fabrics. Adding a humorous touch to the evening, a Dalek from "Doctor Who" playfully invaded the runway, drawing laughter from the crowd as it humorously declared its intention to "exterminate," perfectly embodying the light-hearted spirit of the night.
GetClobbered
GetClobbered
GetClobbered
B B ELFAST AFW CASTLE
OCT 2019
Inspirational figures also took center stage, including amputee model Ross Andrew Davidson and Bernadette Higgins, who confidently walked the runway, showcasing his impressive metal prosthetic legs with pride. Equally captivating was Georgina Rankin, known as Makeup Junkie G, who traveled from London for her runway debut. At only 30 inches tall and wheelchair-bound, Georgina’s powerful presence and professional makeup skills left a lasting impression on everyone in attendance.
Belfast Alternative Fashion Week was not only a celebration of innovative fashion but also a powerful affirmation of individuality, creativity, and community spirit, enhancing the tapestry of this exceptional event and reinforcing the message of inclusivity that BAFW embodies.
EVENTS
Photographer Steve Knight
COX'S
CATWALK
SOLAR
Once you get a solar panel on a roof, energy is free. Once we convert our entire electricity grid to green and renewable energy cost of living goes down.
ElizabethMay
ENERGY
When a mural goes up on a wall, a story is told, a statement is made, and a community is united.
THE MURALS OF OAXACA MEXICO
Elida Field
The town of Oaxaca Mexico is a place where one can go and quickly become immersed in the beauty and variety of its street art. The murals are everywhere calling out to passersby, telling the story of its inhabitants and elements of their day-to-day lives. In the neighbourhood bordering Barrio de Jalatlaco, just around the corner from Once in Oaxaca coffee shop, are a few streets that sing with the beauty of these images.
You can see them on shop fronts, walkways leading into alleyways, or walls that look abandoned. The one thing that the murals all have in common is the feeling of awe generated by the vibrant colours and the resplendent imagery.
Most if not all of the artists are local and have embarked on a project to tell their story in their own way.
The subject matter can vary from homage to a real person who actually lived in the neighbourhood, to the traditional Mexican connection to “day of the dead” celebrations, to the myths embedded into the Mexican culture or even to the of animals that presently inhabit Mexico. Each mural reflects the particular personality of the artist and contributes to the rich cultural heritage of Mexico and its muralist. One has to see them first hand to really appreciate them in all their glory. When trying to locate some of the artist to obtain their permission to use their work for this article, we discovered that some of the images have been painted by artists who are no longer around and have left their mark by their work whereas there are others who still live and work in the neighbourhood. Many art lovers will already know that Mexico is world famous for its muralists, the most famous being Diego Rivera, Rufino Tamayo and Roldofo Morales, Jose Clemente Orozco, and David Alfaro Siqueiros
Hopefully this small taste of the Mexican murals will inspire you to investigate further into a rich tradition that also exists in many other parts of Mexico, including the Yucatan where there are mural art competitions. See internet for more on this. https://bit.ly/4f7X7r3
Nuff said.. Please enjoy the murals of Oaxaca.
In a world of chaos, a mural can be a peaceful oasis, a visual retreat for the soul. Shepard Fairey
Murals have the power to transform a neighborhood, breathing new life and color into the streets.
Diego Rivera
Murals are the voice of the people, telling stories that deserve to be heard by all.
Shepard Fairey
Murals possess the power to inspire, to educate, and to ignite positive change.
– Swoon
Murals are not just art on walls, they are a reflection of the hopes, dreams, and struggles of a community.
Art Beyond the Bubble'. My practice is very much driven by building a narrative, whether this is an established story or one the viewer would draw from their own mind. Mythology and folklore form a strong foundation within my work, their narratives being the basis for many of my creative endeavours. For example, a series of my work was inspired by Persephone, the Greek Goddess of Spring and the Queen of the Underworld, the juxtaposition and duality of her role; a
Teddy : What made you decide to become an artist and read an arts degree at Master’s level?
Amy : I have always filled notebooks with sketches and scribbles, pouring stories and creations onto the page until my pencils were broken. I knew I was always creative, I liked to make things and get my hands dirty, but it was not until I was told that I wasn’t good enough to be an artist that I decided to become one. I had two particular teachers when I was doing GCSEs who told my parents that I simply would struggle with art, I wasn’t talented or gifted in a creative sense. Forever grateful that my wonderful, stubborn parents gave me the freedom of choice and the rest was history. I worked hard, determined to prove people wrong and prove myself right - that I could do all the things they said I couldn’t. I became the first person in my family to go to University, let alone obtain a Masters. On my graduation, my grandfather told me that his father could not read or write, signing his name with only an ‘X’ and how amazing that, decades later I would hold two degrees to my name. I find great interest in learning, my Master's degree was an extension of that, a chance to expand my creative practice, focusing at the time on embedding the narrative of Persephone, the Greek Goddess of Spring, Queen of the Dead and the cycle of life, death and rebirth with visual art.
Teddy : What is your favourite kind of art, why?
Amy ? The kind that makes people think. I am an avid art lover, across history, styles, and movements I have various favorites, but I adore art with a crunch. I have a soft spot for the works that make people mad, that stirs up questions and debates. The kind that when walking past in a gallery, someone mutters, “well, I could have done that.” I like it because it’s the combination of creative practice and context, a sharp idea or rich narrative that made it to the right place, at the right time.
Teddy : In today’s society, how relevant is a traditional arts degree in the face of so much changing technology?
Amy : I am a traditionalist, so even with the rise of AI and other technical advancements, I believe there will always be a need for the traditional arts, there is something so raw - so human, about traditional art. Regardless of the technique, whether it was an eye, hand, heart or mind, something human was in the equation. Art, or arguably creativity as a whole, is inbuilt in humans. The desire to capture stories has been around since the dawn of man, just look at cave paintings. This raw curiosity is human nature, so as long as humans are around, I firmly believe traditional art will be too - but it is undoubtedly an ever changing force.
I am an avid art lover, across history, styles, and movements I have various favourites, but I adore art with a crunch. I have a soft spot for the works that make people mad, that stirs up questions and debates
Teddy : What is the next coming art movement that you think people should be watching for?
Amy : The rise of Artificial Intelligence has resulted in a split within the art community - and quite frankly the wider world - I think there will be work that will come from this, whether for or in protest, and it will be interesting to see how these works are developed and pushed in the coming months.
Teddy : With respect to street art, the established art community has slowly over the years started to recognize it and give it respect and credibility, in your opinion how and why did this come about?
Amy : Well for starters, it is about time. Street art offers a vibrant and striking glance into communities - a reflection of the people within the place it is created. Whether this is a reflection of personal artwork or a platform to speak on wider issues, a canvas is used that will arguably be seen by more people and potentially a wider demographic, than those who would visit a gallery or an exhibition.
With an increased voice of activism, paired with artists who incorporate the style into their work, it was a matter of time before murals, tags and pieces were taken seriously and documented for the talent they hold.
Teddy : Why do you think Bansky has become so popular?
Amy : Everyone loves a mystery. To be able to produce work on the level they do, with the acclaim and world watching, I think it's fascinating that the question mark is still firmly in place. Although theories are circulating about the identity of Banksy, there is still the association of an anonymous graffiti artist. The works, visual reflections of current affairs, are three things - Simple. Dynamic. Impactful. The media surrounding Banksy has contributed to them being a household name, waking up to a stencil on the side of your house would cause most people a headache, but as soon as it’s associated with Banksy, it’s a game changer, a flurry of chaos in the confusion. For example, Banksy recently has been creating animal silhouettes and one of the latest pieces, a howling wolf on a satellite dish, has already been stolen and the act of stealing itself - feeds into the narrative Banksy has created.
Teddy : What do most artists think about Instagram?
Amy : nstagram is an interesting platform, in the sense it started as a ‘picture’ platform, which for most creatives was brilliant, you could share behind the scenes, works in progress and final outcomes. Being in a digital age of ‘wants’ and ‘needs’, content needs to be fresh and fast. Reels are the ticket on Instagram now, paired with trending audio and a sprinkle of luck and hashtags, your work could be seen by hundreds if not thousands of eyes. It’s great in a networking sense, but if you are churning out content daily, it is easy to hit art block and face burnout. Artists and creatives need to strike a healthy equilibrium, it is essentially a work-life balance after all.
Teddy : Why do you think it works, or doesn’t work. Amy : Instagram is a visual platform and humans are visual beings. We love to look, see, peer, gander. It’s perfect in that sense, to use as a platform to promote yourself as an artist and showcase your work to eyes that would have otherwise not seen your creations. The algorithm, a beast of its own, is a different matter, one that many artists and creatives find themselves in battle with, but by connecting, creating your community and sharing your unique voice, little by little you can use it to create a strong portfolio for the world to see.
Teddy : With respect to the large art fairs like the international Basel art fair, do you see any room for new artists breaking into that circle?
Amy : If viewing through the lens of ‘everyone was new once’, then yes definitely. Connections, networking, and the ability to not be afraid to put yourself and your art out there will allow fresh talent o break into these circles.
Teddy : With respect to the large art fairs like the international Basel art fair, do you see any room for new artists breaking into that circle?
Amy : If viewing through the lens of ‘everyone was new once’, then yes definitely. Connections, networking, and the ability to not be afraid to put yourself and your art out there will allow fresh talent to break into these circles.
Teddy : You just completed participation in two films as an Art Media Commentator for 2 Valued Art artists Monica Boxley and Curtis Donovan. Tell us about your experience in that role.
Amy : Working with fellow artists is always a pleasure and being able to talk about art, sink my teeth into works and pull the threads behind the processes, analysing and researching is something I have always loved to do. Monica and Curtis’ artworks are abstract and vibrant, with Monica’s having rich texture and Curtis’ influence from street art bringing these bold gestural movements. Being able to discuss their works and offer artistic insight is a worthwhile experience.
Teddy : You also recently became an arts blogger for the Valued TV’s new art program on the ROKU platform called ARTFUL INNOVATIONS, as an Art Media Commentator and a blogger, how will you be reaching out and working with arts institutions in this role?
Amy : In a world as connected as we are, there are numerous creatives, institutions and organisations that can be connected through networking and social media platforms. Building these relationships, showcasing the artist’s work and being able to connect are just some of the ways I hope to start working with people in the future - blogging will play an important role in this, offering further insight into what ARTFUL INNOVATIONS does.
Teddy : What might be some of the ways you will work with curators of galleries and museums in relation to the ARTFUL INNOVATIONS TV program?
Amy : I hope to work with curators to create exhibitions of our artist’s work, exploring themes and showcasing the pieces to expand the reach and highlight the talent our creatives have. Shows, marketed on a variety of platforms, especially with the film content, are just some starting points.
Teddy : How do you think presenting art in a different way, like in a music video-based presentation as was done with the artist Curtis Donovan might be seen by audiences under fifty. Do you see it becoming something more artists should or will do?
Amy : In the modern world, you need to stand out and show your authentic self - it’s brand marketing 101. You need to know how to interact with those around you, whether they will be viewing your work or potentially buying it. Younger generations have grown up with social media, so they like the fast, snappy content. If it doesn’t capture their interest in a matter of seconds, they move on. By uniquely presenting yourself, such as a music video, it leaves a lasting impression.
It’s similar to how artists use social media, Instagram Reels or Youtube Shorts, to capture a viewer's attention in a quick, clean format, as long as they make it their own, then the reach and the rise of these unique takes will become more common.
Teddy : Thank you for joining us and we look forward to hearing
Alan Quigley Artist
''I want to be the Cassius Clay of snooker. Cassius is the greatest at boxing and that's what I mean to be at snooker '' Alex Higgins
Summer Romance in the Valley of Doves
Alex Higgins Untittled
Harbour Romance
The Future Is...
An increased push for energy efficiency, renewable energy technology, electric mobilityalong with the growing digitalization movement and a universal carbon pricing structure-would speed up the carbon-free future and the rise of a global middle class we desperately need. We can and must all do our part.
Joe Kaeser
Wind Technology
An Artful & Quiet Explosion Mindy Tousley
She had a dynamic multidimensional art background that started in her hometown of Buffalo New York where she’d won several prizes for her art.
In the early eighties, a forty-
something year old American Greeting Card executive named David Davis decided that he wanted to become an artist. He quit his job, enrolled at the Cleveland Institute of Art and settled upon sculpture as his form of expression. In need of a place to work, Davis then identified some land next to Lakeview cemetery which had an old historic building on the premises. He made a business plan, then bought the land which would have been very cheap at the time. Davis decided that the building would be good for his sculpture workshop and eventually turned that space into a place not only where he could work but where other artists could work and exhibit. As the space developed over time with more artists becoming involved, Davis decided that the space should become a permanent facility where artists could permanently exhibit and store their work in an archive.
The reason this was important was because nothing of the kind at the time existed in Cleveland and even though there was the Cleveland Metropolitan Museum of Art in the heart of the city, it did not embrace the work of local artists because their remit was different and focused on more ancient and classical art. The archive grew step by step but after twenty years it was struggling to keep up with the times.
In the year 2014, Mindy Tousley was hired as the Archives Executive Director. She had a dynamic multidimensional art background that started in her hometown of Buffalo New York where she’d won a number of prizes for her own art.
These prizes started coming when she was still a child and continued through her college education at Buffalo State College where she studied and obtained a degree in Design and majored in ceramics. Afterwards she moved into a professional working life that included tenure as a picture framer, ceramicist, gallery owner and educator. It was soon discovered that she was the exactly the right person to ignite the artful and quiet explosion that would set the Artist’s Archive on a course that would have a major impact on the artistic community of Northeastern Ohio that would continue some 20 years into the future. Without a doubt it was Mindy’s all around expertise in the many aspects of art and her astute business acumen that enabled her to transform the AAWR into an institution that is worthy of international attention and can serve as a model for other artists archives.
Although we live in an era of specialization (and some would argue over specialization), Mindy is a prime example of someone whose general and deep knowledge of art gives her an in-depth overview and understanding of an art institution that allows her to transform and develop it in a unique way. She intrinsically understands why and how an institution like AAWR exists, and what its purpose is. And most importantly how to innovate and bring changes to make the institution run better and of more relevant to the community it was created to serve.
Among the many changes that she has overseen in her tenure is the modernization and re-organization of how the artists’ works are stored, catalogued, exhibited and promoted. A big part of the re-organization had to do with how much of each work was being collected, what was being done after collection as well as the nature and limit of what could be collected.
And then there was the question of keeping track of what was being collected and stored which led to the question of how does one maintain a proper and functional database.
Although a database of the art was in existence when she assumed directorship, it was not being kept in a way that was easily accessible or bound by protocols. Her answer to the problem was to obtain money from a foundation and to hire a collections registrar for 25 hours a week to help organize the works. This was a momentous project that took 5 years to complete. Little did she know when she started that that it would involve starting with the last name of the artist, then pulling the work out, rephotographing it, reconditioning it, and putting it back into the database correctly. Also, there is the embracing of new technology that can allow for satellite exhibitions which can expose its archived artists to the world whereas previously the artists were confirmed by geographic proximity to those people able to physically reach them. Having grown from having 65 artists in 2015 to its present number of 102 artists along with 10,000 works in the exhibition’s storage facility, the AAWR can serve as a model of what can be done in other cities. Another important aspect was to develop a system for exhibiting artist and themes which might even result in working with outside curators who can work in conjunction with the exhibition committee. Now, 28 years after its founding, AAWR occupies an entire building in the back of the property Davis bought and as a result has tripled the exhibition space as a result of turning old offices into exhibition space. Presently, AAWR has the equivalent of 3 separate gallery spaces where it can show 3 different shows at once. A part of the outreach to the community effort is built into a program called Art Bites. This program involves setting up workshops and art talks that involve bringing in old and new collectors and curators to talk about art, all of which can be used for educational purposes both now and in the future.
Having grown from having 65 artists in 2015 to its present number of 102 artists along with 10,000 works in the exhibition’s storage facility, the AAWR can serve as a model of what can be done in other cities.
The workshops can be especially useful for the individual artists because they cover some of the rudiments of selling that many artists have never considered or encountered before such as how an artist might best present their works when approaching a gallery, or how to write a resume, or how to photograph their work. These are all important things that many artists may not have a clue about. On the AAWR website one can watch videos of art events with some of the leading experts in the field demonstrating and talking about new exhibition and works. And although Mindy has deep connections in the Cleveland art community and has worked hard over the years to build the AAWR she has not lost sight of her own artistic vision and works which are both substantial in number and stunning in quality. They range in style from collage to ceramics to paintings all of which are remarkably impressive in their aesthetic quality. Even though she is busy most the time with AAWR, she still tries an exhibit her own works in at least once a year. And although Mindy is currently thinking about moving on to new horizons, the legacy she has built at AAWR during her tenure leaves an institution of which Cleveland can be proud. No matter what she chooses to do from this point forward, those in the know will think of Mindy Tousley as the spark that ignited the quiet explosion in the Cleveland art community.
Water
The love Creative Therapy story starts in my early 20’s, with knitting rather than sewing. I was going through a rough time with depression and anxiety and couldn’t really sit still without fidgeting. My Nanny taught me to knit when I was little. I have to admit, I could do it, but had little interest in it! It wasn’t until I was in my twenties after Nanny had died, that I found her needles. So, I started knitting. First the obligatory scarf made from different coloured stripes, but I found the repetition boring and started making little toys. After a while, I decided to try crochet because I love Granny Squares. After crochet, I decided I would really like to try sewing and found myself a night time course in dressmaking at the local tech. When I first tried sewing with a machine, it terrified me… it looked set to stitch right through my fingers because it moved so fast! But with a very lovely teacher, I learned how to use a sewing machine without losing fingers and haven’t looked back since! After deciding dressmaking wasn’t for me (I’m not careful enough with my measurements! And a cm out is a different dress size.) I tried smaller projects that would be challenging and made three bags for charity from patterns I found on the internet. I then auctioned them off, and donated the proceeds to War on Want. But people liked them! So, I started experimenting, trying different bag patterns and materials. Due to personal preference, I often used tartans and tweeds, upcycling material from pleated skirts or old tweed jackets. I really enjoyed working with tweed, and I found it made such beautiful things! I started to make handbags, with patterns I found on the internet and try to sell them at little fairs. And I discovered something I really liked to do. So much so, I left my job in finance and started Love Creative Therapy. Ten years on, I now use lovely fresh Harris Tweed from the Outer Hebrides and tweeds from Donegal to make handbags I design myself, purses, even cheeky little wall hangings, along with lots of other things. I have my own stall each weekend in St George’s Market in Belfast and the items I make have been bought and taken all across the globe! For me, crafting was the silver lining to a fairly horrible time in my life. It was my therapy. It allowed me to set myself a goal, have something to work towards and gave me such enjoyment. It still does :)
Devil Barnett is an ex - CIA hitman turned private detective. If your committed a crime, he's the last somebody you'd want to come looking for you.
SHELLEY
ARTIST
Curtis Donovan
The Controversial Cod
The old question of censorship in a supposedly free society
has raised its ugly head again, but this time the target is not indecent content or questionable morality; this time the target is none other than the good old traditional favourite British meal known all over the world. You heard me right; the target is none other than a meal of the good ole fish and chips.
“Why?” You may ask.
As the story goes, a local chippy in Greenwich hired the artist Curtis Donovan to create a sign advertising their fish and chips. And as people passed the shop, they were greatly taken by the signage and business picked up. But then entered the bureaucratic demons who demanded that the owner take down the sign because it did not fit in with the council’s policy, claiming that the sign was too close to a conservation area near a world heritage site. It was so much of an outrage, even the BBC news carried the story. https:// www.bbc.co.uk/news/uk-england-london-68660489
Understandably, the overwhelming response from the neighbourhood’s population was “rubbish.” And as a result, the local council was bombarded with emails galore in support of Chris Kanizi the chip shop owner. So, what does all this mean? From my humble point of view, it means when a great British tradition like fish and chips is under attack, then anything is possible.
I say that Curtis Donovan’s image of the Great British Meal with the Union Jack should become part of our national heritage, and made into a huge banner and printed onto tee shirts, so that every tourist visiting the U.K. should have to wear one as part of their requirement for entering the country.Forget about my local MP, I’m sending my proposal straight to number 10, with a registered signature required and see how it goes. In the meantime, I say keep British culture strong and happy and full of fish and chips by ignoring Greenwich council’s overly bureaucratic and soulless edicts. And, as one great Brit was heard to say in a betting shop near Hackney, way back when, “In Britian, every man and woman’s house should be their castle and there should be a portion of fish and chips wrapped in every newspaper.”
Curtis Donovan’s image of the Great British Traditional Meal with the Union Jack should become part of our national heritage.
Bruno Tilley
Graphic Designer
Famous London graphic designer, Bruno Tilley is interviewed by the founder of World Equal Magazine, Shelley Rodgers. In 1980, after graduating from St Martins School of Art, Bruno was recruited by Island Records as an in-house designer. He quickly rose through the ranks, ending up as creative director with a seat on Island's board of directors. Working closely with Chris Blackwell, Bruno set up the first record company in-house art/ video department called Island Art. Bruno directed his creative team, creating award-winning campaigns for top artists like U2, Bob Marley, Steve Winwood, the B52s, Robert Palmer, Grace Jones, Kid Creole, Mica Paris, Eric B & Rakim and many many more. His directorial debut was the video for Bob Marley's Buffalo Soldier. During his ten years at Island Records, Bruno got to work with a diverse range of artists, designers, photographers, filmmakers, hair, makeup, set designers, clothes designers, basically some of the best in the business. World Equal is delighted to do an interview with Bruno so without further adieu.
Shelley Rodgers: Do you think that creativity involves putting your heart and soul into your work? Or is it more like letting your mind flow freely to witness the surprising results of your actions?
Bruno Tilley: I think it does, I always have, I can’t imagine any other way really.
Shelley Rodgers: What influenced you to choose your career?
Bruno Tilley: Back in the 60s, my father ran a successful design and illustration agency. To earn some extra pocket money I used to work in his studio. This was pre computers so all the artwork had to be done by hand and I did lettering and artwork for my father. So I guess something rubbed off from those days. Most of my family is heavily art orientated. It was the world I grew up in rather than a decision I made one day, a natural evolution if you will. I was a young kid and all sorts of artists were coming through our doors. Dad made some iconic posters that would be all over huge light boxes in London airports, and all over London City, for The Sunday Times the list is endless. I got to see my father put it all together at home too, not just at the workplace so I was surrounded by art. My mum said, “Dad passed the baton on”. When I was a young man, if I was feeling a bit low, being creative would pull me right out of it and everything felt normal. So my father and his business would be a major influence.
Shelley Rodgers: Do you strive to be unique in your creative endeavours?
Bruno Tilley: It’s one of the important factors to create something that stands out from a very crowded market.
Shelley Rodgers: What do you do to keep yourself motivated and interested in your work?
Bruno Tilley: I like to keep my eyes open, and see other people's work. I find that inspiring and motivating.
Shelley Rodgers: Were you ever discouraged? If so, how did it affect your creativity?
Bruno Tilley: In my career, I’ve hit several barriers where I was told I wouldn’t be able to do something - This generally made me want to achieve even more. It took me a while to understand that the doubters had the problem. For example, when I was at art college I was asked what I want to do? When I said I wanted to design record covers because I liked music and imagery and wanted to combine the two they told me “You’re kidding, that would never work you’ll never achieve this”. So what I did for my final show was I redesigned all my favourite record covers. My exhibition was just record covers. Ironically when I finished my time at art college I received a job application from them saying Island Records we’re looking for record designers. I couldn’t get there quickly enough. It was for a number-one hit called ‘Video Killed The Radio Star’ by The Buggles. The interview went really well, the secretary gave me a glass of Champagne in the waiting room while other college mates were walking past me applying for the same job as I was sitting there drinking Champagne not realising I had gotten the job already.
Shelley Rodgers: If you had to start over, would you choose a different path in your career?
Bruno Tilley: I think it may have been fun to have gone into acting - I’m still aiming one day to direct a movie so that’s not off the cards. With that aim, I’ve written several feature film screenplays. A funny story, in my life, is after art college for a brief time I was a security guard for an empty building. After a while I got so bored I spray-painted the entire inside of the building and did works of art everywhere in it.
When the council came to inspect the building one day, they were horrified and I got a right old chewing for it. I realised I could never be a security guard or probably happy at anything else other than working as an artist. The council probably realised this too
Shelley Rodgers: If you could become one of your characters/works of art, which one would you choose?
Bruno Tilley: Bono!
Shelley Rodgers: In thinking about the things that you have created, is there something that you didn’t enjoy but the public/ client may have loved?
Bruno Tilley: I’ve been on several video shoots, which were like a living hell and somehow came out very well. It was always a case of not giving up
Shelley Rodgers: What is the best advice that you have been given?
Bruno Tilley: A tutor at the Martins once told me the key to image making was to make the images dynamic - stand out in some way. I guess I’ve always applied that logic.
Shelley Rodgers: What is creativity to you? Do you consider yourself to be creative?
Bruno Tilley: It’s tuning into the creative cloud up there and visualising what could be. I guess I am as people keep telling me so.
Shelley Rodgers: Do you critique your own work? Explain.
Bruno Tilley: When I look back I am critical of past work, mainly the detailing. Nowadays you can see exactly what a finished job will look like. Back in the day pre computers there was a certain amount of guesswork involved. I’m basically a perfectionist.
Shelley Rodgers: Has rejection ever affected your creative process?
Bruno Tilley: Who likes rejection? It throws up a range of emotions but as they say, should make you stronger. A multimillionaire once told me it’s the guy that keeps getting knocked down and can get back up that succeeds in the end - It certainly worked for him!
Shelley Rodgers: What kind of jobs did you have before your career took off?
Bruno Tilley: When I was 16 I was a runner for a top illustration agency - Artist Partners, for a year before I went to art college. It gave me great insight into the world of business. Artist Partners were like a family. I got to meet the artists they represented. My job was to pick up the finished artworks and then take them to various advertising and publishing agencies. It taught me a lot. I even was used as a model for some of the artists appearing on book covers, in magazines and on record covers. They were one of the top Art Agencies around. When I’d been dropping off artwork there was a floor in a building that had all these little booths with amazing artists and illustrators specialising in different things. I got the chance to meet Brian Froud who did the artwork on Jim Henson's Labyrinth starring David Bowie and the legendary The Dark Crystal also Alan Lee who did the images for Lord Of The Rings, and incredible painters like Roger Coleman and Brian Saunders.
Often they would be doing magazine covers and I’d end up modelling on them. It was an incredible experience and all before I went to art college! Ironically over the years I became the commissioner and got to commission Artist Partners to do lots of Art.
Shelley Rodgers: What was the biggest opposing force that you encountered on your creative journey?
Bruno Tilley: The hardest thing I’ve found is trying to break into the film business. You work your butt off writing a script, and creating a believable story and then you realise there are too many people out there doing the same thing. This was really reinforced by when I was driving into LA the Uber driver spent the whole journey trying to sell me his story screenplay - which as it happens wasn’t bad!
Shelley Rodgers: If you had the chance to live during a different artistic movement other than now, which one would you choose?
Bruno Tilley: I like the here and now but I guess it would be fun to go back in time and witness all the great art movements.
Shelley Rodgers: If you could interview a creative person (past or present), who would that person be?
Bruno Tilley: There are so many it would be too long a list for this article. I did love the Pop art movement when I was growing up. I didn’t understand what any of it meant but loved images so I guess some of those guys.
Shelley Rodgers: What do you do to get into your creative zone?
Bruno Tilley: Try and find a way to only focus on the job at hand and free me of all the distractions - I find my playing music helps or going for a walk.
Shelley Rodgers: What is your favourite accomplishment?
Bruno Tilley: I must admit I do like it when a project is successful. Getting a No.1 always feels good - Working with U2 right from the start and growing was pretty good. My most successful project to date was probably Bob Marley’s Legend campaign which is still to this day the biggest-selling reggae album of all time.
Shelley Rodgers: Do you ever create hidden meanings or messages in your work?
Bruno Tilley: Yes.
Shelley Rodgers: Who do you define as a visionary?
Bruno Tilley: For me, my old boss Chris Blackwell was a visionary. He was very inspiring to be with. He seemed to get involved in an enormous range of projects from music to movies, he even set up a Jamaican honey farm. I guess he showed me anything was possible.
Shelley Rodgers: What’s next on the horizon?
Bruno Tilley: I’m working on a wide range of projects varying from branding, and website designs to setting up an art-based T-Shirt company.
Album art made an immense impression on those who purchased vinyl records back in the day. The combination of great music and great imagery all in one package was an addictive and extremely desirable item to have. Bruno was leading the way in this area so it is no surprise to find his work on new forms such as T-Shirts these days. Having made an incredible name for himself with his creative talent over the years as a graphic designer World Equal invited him to showcase his fashion and brand on the runway at their eventBelfast Alternative Fashion Week in 2019 just before the pandemic broke. The special event was held in Belfast Castle and Bruno's T-Shirts were superb, no surprises there! World Equal thanks Bruno Tilley for his involvement and wishes him all the very best for the future.
World Equal
Don't gain the world and lose your soul / Wisdom is better than silver and gold.
Bob Marley and the Wailers, Zion Trai
My goal is to be one with the music. I just dedicate my whole life to this art.
Jimmy Hendrix
With a love for T shirts I invested in the equipment to be able to print on demand. Which means I can come up with a design in the morning and have it printed a hour later. Here are some of the designs I've been developing. The idea was create an art based T shirt company which would not only feature my work but others too. brunotilley.com
Wildlife conservation involves: Protecting endangered and threatened species, Preserving natural habitats, Promoting sustainable practices, Restoring habitats, and Advocating for policy.
The science behind wildlife conservation comes from conservation biology, which is the study of how humans affect the environment and biodiversity
