Posted on November 29, 2017
Posted on November 29, 2017
ST FRANCIS AT THE ENGINE ROOM
BRITAIN’S LARGEST CONTEMPORARY ALTARPIECE THE ETERNAL ENGINE IS UNVEILED
Posted on March 12, 2017
St Francis at the Engine Room is a community centre and the first new Anglican Church to be erected in London in almost 40 years. Spearheaded by the Diocese of London working in partnership with Lea Valley Estates, Newlon Housing Trust and London City Mission. It has been created to put a community resource and place of worship at the heart of the new housing development in the Hale Village.
Hale Village is located just across the road from where the Police shooting of Mark Duggan on the border of the Ferry Lane estate in August 2011 sparked widespread riots that affected not just the whole of London, but also other major cities across the UK.
The Engine Room serves Hale Village Estate, and the neighbouring estate of Ferry Lane, which is more established. The wider area is among the 10% most deprived in England, with the highest indices of deprivation relating to income, housing and services. It includes high numbers of elderly people living alone single parent households, households with children but no adults in employment and households that include a disabled person.
The Engine Room in Tottenham Hale is an innovative response to development-led change in London. Working with the developers and housing providers, the Diocese of London has sought to provide a new church and community space in the development as it is being built, as a response to the needs of the community in this context.
Local Church of England churches have a very positive track record of helping communities in practical ways, providing safe spaces for children to learn and play, supporting refugees and helping unemployed people to obtain new skills and get back to work. St Francis at the Engine Room works towards being a valuable investment in the lives of local people, engaging a diverse population in creating welcoming communities and spaces, as well as contributing towards breaking barriers of social isolation and ethnic divides.
My intention is that The Eternal Engine will not only serve as the welcoming, universal and bridge building focal point of St Francis at the Engine Room, but also reflect the lived experiences of those in the community. I am very humbled to be given the opportunity and responsibility to visually represent the important work The Engine Room does to support, lift and inspire those who live in Hale Village London, whilst representing a lasting legacy of diverse community unity for many others, into the foreseeable future.
St Francis at the Engine Room is scheduled to be opened in September 2017.
Posted on February 28, 2017
PRESS RELEASE – BRICK LONDON
Impact date: 10 March 2017
Alternative soul artist EBSON follows up Adapt to Thrive with new single RED, accompanied by a visually striking music video Directed by Graeme Mortimer Evelyn. Debut single Adapt to Thrive received support from tastemakers including Indie Shuffle and The 405, praising EBSON for his emotive blend of blues and soul.
With his unmistakably London sound, taking influence from the city around him, EBSON tells a tale of courage within a relationship, and finding the strength to leave. The song rises and falls as the story sweeps through a battlefield of love and sin. With a sweeping cinematic feel, haunting piano music builds to marching drums as the story reaches its crashing crescendo. RED was produced by Charlie, who also recently produced Jorja Smith’s EP and was mixed by Grammy nominee Alex Evans.
The video was directed by internationally renowned visual artist, musician and curator Graeme Mortimer Evelyn and stars dancers Nandi Bhebhe (Tate Modern, A Midsummer Nights Dream at The Globe) and Renako McDonald (Cirque du Soleil, Disney’s Tarzan). Conceptualised by Graeme Mortimer Evelyn and EBSON, the dancers were given direction to move around within the space, made to look like a home, in Seven Sisters, London. The chemistry between the two dancers is evident, and energetic movement illustrates the heart-rending battle between the two.
“..For me the narrative of my music has to translate across everything, from the images to the approach of the video and thankfully I had an incredible team behind this to make that vision come to life. I really wanted to come at this as a piece of performance art that even without the music, could stand alone and still show the emotion and conflict within the relationship..” – EBSON
“..It was clear to me as (RED) director that to visually conceptualise EBSON’s stunning lyrics of the beautiful sadness of tragic love, the challenge would be to dramatically articulate the unseen and inexplicable internal bonds developed during profound intimacy. These emotional connections that we create can be so hard to break even to the most brave and courageous. I wanted the dancers not only to express these emotions we all relate too, through dynamic movement and facial expression, but also through detailing how the intimate relationships we create have these invisible bonds of interwoven fabric that continually stretch, contort and fall..” – Graeme Mortimer Evelyn
EBSON will release a debut EP in 2017.
Press enquiries: Rachel White at Brick London | firstname.lastname@example.org
Posted on August 28, 2016
2016 GWANGJU BIENNALE - The Eighth Climate (What does art do?)
1 – 2 September 2016 - Asia Culture Center, Gwangju, South Korea
Very excited to accept the invitation to the 2016 Gwangju Biennale from the International Curators Forum (ICF) to be part of a series of panel discussions for the symposium Curating the International Diaspora. Through my work as artist and independent curator, my presentation will address how Diaspora artists can radically re-imagine the history and meaning of the image and the relationship to a ‘ local’ or tourist audience.
ABOUT THE SYMPOSIUM:
Asia Culture Center, Gwangju, Korea and International Curators Forum, London, UK are pleased announce the international symposium, entitled ‘Is the curator an agent or double agent of cultural identity?’ It is a departure point on a year long curatorial journey or grand symposium project, Curating The International Diaspora that involves working with artists, critics, curators and art institutions from Korea (Asia Culture Center), UK (International Curators Forum), UAE (Sharjah Art Foundation) and Barbados (Black Diaspora Visual Arts/ Barbados Museum & Historical Society) across three major international art events between September 2016 and March 2017.
Curating The International Diaspora program will investigate how emergent cultural diasporas have impacted the curatorship of contemporary visual arts specifically and how new models of contemporary curating have developed as a consequence of these effects. The project will demonstrate how curatorial practice has been radically transformed by the diaspora of people, intellectuals, artists, and cultural workers.
FOR FURTHER INFO VISIT
Posted on August 28, 2016
CULTURE CLASH! CELEBRATE THE CONCLUSION OF THIS GROUNDBREAKING EXHIBITION
WITH LEGENDARY 6 MUSIC DJ, FILMMAKER, REGGAE / PUNK PIONEER DON LETTS
@ ARNOLFINI BRISTOL SUNDAY 11 SEPTEMBER 2016 8PM -11PM
Arnolfini and RWA invite you to join us for a special CULTURE CLASH closing party with Don Letts. Exploring the longstanding connections and crossovers between Reggae and Punk, we are celebrating the final day of Jamaican Pulse at RWA and Moving Targets at Arnolfini.
Widely acknowledged as the man who introduced reggae to the punk crowd in the 1970s while DJing at legendary venue The Roxy, Letts will be taking over the Arnolfini’s auditorium to bring us a set that, in the spirit of the original ‘punky reggae party’ will be designed to get the crowd moving.
As well as continuing to DJ both nationally and internationally, Letts credits include: co-founding the band Big Audio Dynamite with Mick Jones of The Clash; directing over 300 music videos for artists ranging from Public Image Limited to Bob Marley; and making documentary films on, among others, Gil Scot-Heron, The Jam and Paul McCartney. Published in 2007, his autobiography is entitled Culture Clash: Dread Meets Punk Rockers.
Don will also be showing his CARNIVAL 2pm at the RWA. Arnolfini will be presenting a Docu-film double-bill exploring race and gender identities within the punk scene as part of Moving Targets from 4pm.
FOR FURTHER INFO VISIT
Posted on August 28, 2016
Posted on August 28, 2016
RWA PREVIEW INVITATION | FRIDAY 24TH JUNE | 6PM – 9PM
JAMAICAN PULSE | ART AND POLITICS FROM JAMAICA AND THE DIASPORA
CURATED BY KAT ANDERSON & GRAEME MORTIMER EVELYN
FOR FURTHER INFO VISIT: www.rwa.org.uk/whats-on/jamaican-pulse-art-and-politics-jamaica-and-diaspora
Posted on April 23, 2015
Music / Free my Mind (After LTJ Bukem and MJ Cole) 2015 | Permanent ProMarker | iPad SketchBook X
“I am what time, circumstance, history, have made of me, certainly, but I am also, much more than that. So are we all” - James Baldwin
I am an artist who works with lines, colour, memory and sound to create art that seeks to transform hearts and minds. I create visual forms that respond to the vibrations of landscape, history, architecture and intimate spaces like churches, temples and palaces.
For several years now I have been commissioned to make work that engages with contested histories and heritage, requiring archival research and acute sensitivity to collective social issues and ideas. This has been both challenging and thought provoking, causing me to question the essence of what brings people into a conversation with works of contemporary art.
As I have been a professional musician longer than a visual artist, I have always used music as a platform of departure – informing my writing, research, drawing, moving image and sculpture. I have a form of synthethesia which causes audio sound and music in particular to be seen as graphic line and shape. Although, I have indirectly used this condition in limited ways in past works, studies and large scale projects, this will be the first time that I will completely embrace my form of synthethesia for this exploration into direct responses to improvised music.
Music guides my hand with more confidence than any in depth research of the given projects subject matter. Moreover, it is the music that releases the accumulated information of detailed research gathered and taken into my subconscious. This detailed download of research has a period of visual osmosis that through the audio blends improvisational and often experimental drawing with in-depth research.
With Inward Gaze, Outward Focus I intend to develop my visual language within new creative environments, surrounded by new sounds and stories. I therefore seek to create a new body of work based on the music of Jazz – not just as a compliment to the creative process, but also as a language that manifests in improvised composition and linear structures. As a practicing musician this work will represent almost a return to my creative foundational basics, where my two creative drives work in complete harmony. Within my blog I hope to document this internal visual journey.
Image circa – Luton 1990 – Afro Drummers
I began my musical journey at an early age learning the double bass, encouraged by a jazz trumpet playing older brother – that force fed a prescribed audio diet to my young ears – the music of Miles Davis, Herbie Hancock, Marcus Miller, Wynton Marsalis and a great deal of Augustus Pablo. Being born and raised in a Luton council estate to very entrepreneurial and pragmatic Jamaican parents who although encouraged my interest, during early 80s UK, could not afford the continued double bass lessons or in fact, to purchase the instrument itself.
So I was left with what seemed like a surrogate electric bass and hip hop djing for MCs; then an old friend from my local breakdance crew that I also used to write and spray old school graffiti together with, introduced me to Rastafari. This is how my journey into music as ceremony, communal meditation, history and spiritual awareness began.
This experience of Rastafari culture and music left me with the acute awareness of a divine purpose innate within music and gave me the rooted foundation necessary to continue my studies in Afro Caribbean and World percussion and has informed my eclectic musical journey from global religious devotional music, western classical, electronica, Salsa, Caribbean Jazz to Contemporary Jazz which is my current field of interest and forms the foundational basis of this project work.
Outward Gaze, Inward Focus | 2015 | Permanent ProMarker |
Visualising the Essence
All musicians and artists understand the importance of the dictate ‘Freedom through Discipline’ (to your Art). We understand that through dedication, even outright obsession, that mastering an instrument through disciplined practice one can gain the true freedom to express our creative essence to the point where one becomes the conduit for the music to travel through.
However, when harmony, melody and rhythmical sound are not necessarily created for devotional purposes – there still exists a very rare and elusive quality one strives for when a gathering of musicians perform together and for which every musician understands. It is when this quality is attained during the performance and the collective are all are aware of its presence. The very act of music making is in its essence is a ceremonial event created to sustain a communal fulfilment of ‘oneness’ and this quality is devotional to the musician.
For me, when I hear a solo improvisation supported by such a quality, I have always wanted to capture the solo’s essence visually as the true internal portrait of the musician. By using the primary artist medium of drawing, I intend to capture a musician’s internal portrait through their compositional and improvisational essence. As the project title suggests, this work will engage with musicians whose approach, rather than solely technical ability, choose to compose and improvise in accordance with a meditational and spiritual level using the academic discipline of mastering one’s chosen instrument to gain entry into pure and ethereal freedom of expression and humanity.
Fly (After Alex Wilson Trio) | 2015 | Permanent ProMarker |
In order to facilitate this exploration of visualising in-depth solo Jazz improvisation, I have the honour and pleasure to play, document and work with some of world’s finest Jazz musicians. Firstly, as a member of London based The Human Revolution Orchestra and the upcoming Neo Latin Jazz/ Live art project SEÑALES with the great Latin Jazz virtuoso pianist Alex Wilson and Venezuelan Master percussionist Edwin Sanz.
Apart from the abundant resource above, I always compile project playlists for research subject matter and ‘feel’ and another playlist for production and sculpture.
For example, the second playlist for the permanent contemporary altarpiece commission and residency set within one of the oldest churches built within the medieval city boundaries of the port city of Bristol, the Reconciliation Reredos – I decided that the sculpture playlist needed to be futuristic and electronic, so as the architecture of the relief sculpture portrays the feeling of the 23rd century. I listened to nothing else whilst carving; accept the music of the critically acclaimed musician/composer for Japanese anime films Susumu Hirasawa. Hirasawa’s Holy Delay formed part of the final project playlist for the Reconciliation Reredos design and concept.
Continue to follow my artist blog, as I document extensively and exclusively for my website /social media my artistic process and progress.
See you soon…
Posted on April 5, 2015