“All I want to do in life is to be able to pay the rent and make the billboards,” artist Robert Montgomery said in an interview with The Independent last Friday. “That’s my complete and utter ambition.”
There’s three billboard along Old Street right now as part of an exhibition showing off his poetry in a simple caps-on white on black find. These ones are legal, though occasionally he illegally plasters his poetry paste-ups over advertisements. But he’s a fully trained artist with Venice Biennale on his CV and hardly be cast in the category of “street artist”, though his work normally is found on the streets. So I took a stroll over the weekend and took a few photos to share with you:
In the same interview, he says, “One of those texts is very much a testimony to the positive things I think Occupy are doing. It starts, “There are wooden houses on land in far-away places that don’t cost much money, and strings of lights that make paths to them gently, and do not turn off the stars. And 100 black flags of anarchists held up at night 100 miles apart.”
It’s the idea that rows of tents in front of St Pauls are guarding our future – or trying to. I find that whole thing very moving. I found Giles Fraser resigning from the Church of England in support of the Occupy movement, incredibly moving. The church taking sympathy with what they’re doing is really significant. It shows that the concerns of middle England are not too far away from the concerns of Occupy. I worked a lot with the Stop The War coalition over the years and I did several pieces with them and some of the marches. It was lots of middle class, middle-aged people from the home counties marching.”
Novelist, film producer, fashionista, rock n’ roll queen, journalist, Ibiza party girl, teacher, DJ, editor, stylist, poet, traveller and, most importantly, born and bred Londoner, this is Kirsty Allison…
LLO: As a born and bred Londoner, what are the biggest changes you’ve seen over the years? Anything in particular you miss? KA: I used to frequent a goth club called the William Morris in Wimbledon, I drank snakebite and black, and pretended to be an art student before I became one. I was thirteen or fourteen. I’d like to take a time machine back to those times, and have a talk with myself. London will always have speakeasys and people trying to fight the powers that they think restrict them, it’s the nature of British culture, thankfully, like the city itself, it’s all about contrasts. The best advice I got at primary school was being told to look up – at buildings…there’s more sky around London than there used to be – rooftop bars, penthouses, I like feeling elevated, rather than suppressed by the towering infernos of our city, although they inspire me.
LLO: Which area of London are you most familiar with? Write us a mini-poem about why it rocks. KA: Shoreditch, is my bitch, She’s the devil to my itch, Roaming there, my artistic lair, Makes my teenage dreams fall fair. The seen it all before they were twelve year olds, or the enthusiastic old boys and girls, We’re hunting for where we lost our souls, and this is where I like to roll.
LLO: You’ve challenged yourself to wear a different outfit every day for a year. If you were to do it again next year, which five London shops would you hit first to build up your wardrobe? KA: I’d drop by Fiona Doran’s (aka Mrs Jones) Emporium on St John’s Street. She’s an alma mater who’s guided me like a lady with a lamp in her dress for years. Beatrix Ong has recently opened a shop in Sloane Street, she knocks class and sex into heels. I collect Alexander McQueen, so it’s hard to think of a wardrobe without some of his original pieces. The Vivienne Westwood shop at World’s End features clothes she’s sewn herself. The Shop below Maison Bertaux in Soho is great, and I love Kokon Tozai. Off Broadway rocks, set up by the divine Donna Kernan. Concept stores like http://www.ln-cc.com and Dover Street Market…I could go on…Liberty’s is a pleasure to shop in…whoops, how many was that?!
LLO: Ambit just featured an excerpt from your first novel Medicine and you made the cover! You’ve got three sentences to sell your book. Ready, go… KA: So tough to compress a work into a small space, but, it’s set in 90’s Shoreditch in an exclusive scene where fashion and music industry myths are accepted as truth. It’s rock n roll to the max, following the downward social adventures of a fashion designer who starts managing a band, Chernobyl, fronted by a male model. As their fate becomes stardom, she travels from Ibiza to Paris and a world tour, letting her fashion designs become increasingly bonkers. It’s a funny tale which makes people cry. I’ve been working on it for 15 years…
LLO: You’ve been a celebrity stylist and a model, coming across some influential names in the fashion industry. Which up-and-coming London-based designers should we keep an eye on? KA: Louise Amstrup. Holly Fulton. Elliot Atkinson. James Long. SD Yohans.
LO: Best London discovery? KA: Churches and graveyards are always good value.
LLO: I’m in London for one night and want to veer off the tourist trail for some food and drink. Any fabulous recommendations? KA: I like La Trompette in Chiswick, I’ve taken my mum there. The Seven Stars, off Fleet Street behind the law courts is entertaining, it’s proper characterful landlady stuff. If you want to keep it cheap, C&R on Rupert Court does a good Singapore Laksa, and follow it with a few drinks at The Coach & Horses in Soho, where every table has served me as an office. Cay Tre on Old Street is always busy, but if you like Vietnamese it never disappoints. Lemonia on Regents Park Road. Wholefoods Market is a palace. Cecconi’s is proper Jackie Collins territory. A curry in Southall. There are always new places everywhere.
LLO: In the late 90s, you were DJ-ing internationally with the likes of Kris Needs, Irvine Welsh and Howard Marks including a residency at Manumission Motel in Ibiza. Where’s your favourite place in London to party the weekend away? KA: The party is where you’re at. Aside from that, The Sanctum Hotel in Soho is cool. Quintessentially is fun. The lure of a private member’s bar is something I fall victim to but I love a decent bass, and there are so many warehouse parties going on again, it’s easy to get lost partying.
LLO: Tantric Tourists is one of your latest creative projects. Tell is a bit about what inspired it. Any London screenings or events scheduled? KA: Tantric Tourists follows a self-proclaimed guru as she escorts 10 American students on a quest for enlightenment across India. It’s a comedy road movie. The director, Alexander Snelling, and I first met the guru, Laurie Handlers, in India where she was “whirling on the beach”. We did a test shoot at a workshop she was hosting in Primrose Hill and cracked up at the rushes. It was too good a story to turn down.
LLO: Do you have a favourite London-based book or a great bookshop to recommend – one of those cosy ones with the slightly musty basement smell or great in-house coffee shop? KA: This is mainstream but I used to like Borders, they had chairs, it was an easy place to get lost in. Waterstones in Piccadilly does a good job, as does Foyles (if only the Westfield rates weren’t so high they’d still have a second floor). There are many indie shops doing a great job. Broadway Books is hitting the mark. And my local library has a cafe in it, long may it last. The Daunts in Marylebone is great because it has all these wonderful wooden bannisters, and they are so excellent at travel books. Judd Street Books is lovely for art books and oddities, towards Bloomsbury from Kings Cross. The Oxfam bookshops are always great. The customer service in Hatchards is good. I love a good bookshop, I clear my head by walking through them, flicking through those who manage to hold their fort on the shelves. The Espresso Machine is a concept I’m excited about – it’s so called because in the time of a coffee you can order whatever book you desire in whatever paper you choose – so if I wanted Lolita in baby pink, Bob the Paedo is my uncle…(almost) any bookshop or library is serving the future of England a favour.
As Dani says herself, you might expect artwork from a native North Carolina girl to be quite “safe” and “homely”, but don’t be fooled. Dani’s illustrations and paintings are anything but, and since she moved to London, they have become even more open and experimental, all boundaries crossed. If you’re easily offended, turn back now. There’s a few safe entries back that way.
If you’re curious about what inspires this Central Saint Martin’s graduate to expose her inner fears and thoughts in such a way that may shock her neighbours back home, read on. She’s taken some time to tell us about why her work is so sexually blunt, how London gives her creative freedom and her plan to move to Oslo later this summer.
LLO: When did you first become interested in illustration and how has your work evolved while you worked toward your BA at Central Saint Martins?
DD: I have always been interested in the arts from what I can remember and especially illustration because it requires so much attention to detail and patience. I wanted to be a medical illustrator at first, I am fascinated with medicine and anatomy and still hope one day I can do something within the medical stratosphere. My time at CSM has definitely given me more self-discipline in regards to my working habits. It has taught me to explore my ideas more thoroughly and to formulate clear, well-executed pieces. I have found a love for painting with oils as well, which is something I was never really that interested in before. My work hasn’t really changed much overall, I have just expanded it into a few more mediums.
LLO: Has coming from the sticks in North Carolina to big city life in London changed the way you approach your art at all?
DD: Art in North Carolina is quite, “homely” and “safe”, well most of it. People seem scared to offend anyone with their work. Coming to London, you see that that safeness doesn’t exist here and you are free to explore and create whatever you like with out fear of community persecution or exclusion. My work is a lot more free now that I’m here, and a lot more chaotic.
LLO: Much of your work is very sexual in nature, very focused on the female body flaws and all. Can you talk a bit about the messages in these images?
DD: We’re our most vulnerable when we’re naked. Being nude changes the way people behave. Some embrace it, some can’t stand it. All of our flaws are visible and accessible to every human eye and every particle floating in the air. Being nude bonds us with our surroundings. When I draw a figure, I see it in my minds eye in total perfection, nude and flawless. But when it comes down onto paper, it becomes all of my insecurities and flaws, all of my pain and resentment for myself. The sexual outlet is the trusting, giving, ‘exposed’ and freed self and something I want to give to my viewers, the ability to bear the scars of their life with out fear. We women hold a lot inside of us, and mask our perceived flaws in many different ways it seems. I want to make work that liberates the body of unnecessary social constraints by bluntly stating their existence and trying to deconstruct the need for us to hide from them.
LLO: It’s also very detailed and a lot of it is quite surreal. You’ve got a great imagination. Tell us a bit about what inspires your work?
DD: My work is usually inspired by events in my life, past and present, the quantum world, or perhaps something that really catches my eye in the media. I go through different phases of what elements I like to use in my work, like certain patterns or styles. My world on a day-to-day basis is quite surreal to be honest, weird things always happen to me, or things I simply cannot understand. I also tend to make up stories in my head about certain people I am surrounded by, or on occasion when I’m walking around I hear harmonies of sounds I suddenly feel like I’m in a musical and that leads to more ideas and the work takes off from there. I also spent a lot of time in hospitals when I was growing up, surrounded by a lot of unique characters. Their world is sometimes completely different from ours and very bizarre at times, these experiences inspired a lot of my work to this day.
LLO: You also do some painting, animation and graphic design. Do you find that changing mediums alters your subjects and style or do you take a similar approach despite the obvious differences?
DD: I definitely take a similar approach when painting, not so much when it comes to graphic design. Graphic design is a sort of ‘sanitary’ medium for me where I like to make more minimalist work, while utilizing a broader range of colours. Painting is just a mess, a mash of liquid pixels and I tend to want to make more abstract works when painting, however I always seem to be lured back to creating an intricate painting inclusive of the human form.
LLO: Which piece of work are you most proud of and why?
DD: I can’t say that I’m particularly proud of any single work I’ve made, I feel satisfied when they are completed, but usually not jumping to show them off. I have a very bad habit of destroying my work long before anyone ever sees it. I am truly resentful of my illustrations and paintings at times and have set alight many of them in the past, tossed them out the window of my car onto the motorway or simply flushed them down the toilet.
LLO: What’s the next step for you in terms of career and how you see yourself moving forward in the next few years? Do you plan to stay in London?
DD: I’m not exactly sure what’s next. I would like to display my work in galleries all over the world, I would like someone to collect my work, I would like to sell my work, but then again what artist doesn’t! I will probably end up working more on the graphic design side of things or doing freelance jobs or perhaps working in a design firm if all else fails while still doing art in my spare time. I’m getting married in August to a one Jan Schjetne, fashion photographer extraordinaire, and will be moving to Oslo, Norway in July to settle amongst the Scandinavians. I am really excited about this and hope to create loads of new work and add some new mediums to my current work.
LLO: Do you have a favourite London gallery or place to see other artists at work?
DD: I get really inspired at the National Portrait gallery, the Barbican and the Haunch of Venison. I love the name “Haunch of Vension” and that’s what first led me to this gallery. It’s an erie sounding name to me and this promises many good things contained within. I also like the White Cube Gallery near Old Street, and the Riflemaker Gallery they always have something good on.
LLO: What other London-based artists do you admire?
DD: I like a lot of the YBA’s, and I love the large fun works of Anish Kapoor.
LLO: Where can we see some more of your work?
DD: I have a website, cargocollective.com/EHFO, I update it fairly regularly. You can also drop me an email on there if you have any questions, or thoughts you want to share: email@example.com.
This little corner of old street is just outside the station. Usually I avert my eyes when I walk by because that back corner is too often occupied by a tramp relieving himself against the wall. This time, however, it was an empty little square full of only empty beer bottles, kebab trays from the night, napkins before marked by dirty boot prints and a new message scrawled along the wall: “Truth Ingestion”. And maybe it’s true that life in this little derelict corner is a truth too easy to ignore.