PROFESSIONAL PRACTICEJONNYJONNYJONNYPROFESSIONAL PRACTICEPROFESSIONAL PRACTICE

“I DON’T REALLY WANT TO PUT ANY QUOTES IN HERE, BECAUSE IT DOESN’T SEEM VERY GENUINE.”

JONNY CLAPHAM, BEING DIFFICULT

CONTENTS- FUNTRODUCTION- WHO AM US? WHAT IF I?- ELEMENTS OF MY PRACTICE- PROCESS- INFLUENSPIRATIONS- LOBOTOMY OF SELF- RETROSPECTICLES- COLLABORATE/MYSTERY SACHET- FURTHER COLLABORATIONS- GRANDMOTHER RESSURECTION MECHANICS- NAKED!- ONLINE PORTFOLIO- TWITTER- EXTENDED THOUGHTS ON TWITTER- PROMOTION OF THE ME- CACTUS INSERTION TACTICS- COMPETITIONALS- AWARENESS OF INDUSTRY- FUTURE PLANS FOR THE FUTURE- DRAWING OF A VASE- EXHIBITIONS I’VE BEEN INVOLVED IN

- LINKS OF RELEVANCE

Hello NAMELESS READERSHIP and

welcome to the Professional Practice

booklet. This book is a cyber-bound

look into the past year of my life, a

year filled with turbulent creativity and

identity crashes. Luckily I’m through

all that, for now, and I can present to

you the most professional facade of

my creative practice, filled with only

the good bits of work and reams of

self-congratulatory prose embellished

with half-truths about my promotional

prowess.

However, it’s more likely I will be

entirely honest. I was brought up

a Catholic, and despite distancing

myself from the more magical parts

of that belief system, I still find

myself unable to cope with the guilt of

dishonesty.

FUNTRODUCTION

WHO AM US?WHAT IF I?‘What If’s’ drive my work. Simple one sentence

concepts that can spawn imagery work as

fantastic starting points for visual exploration.

What if a man left his gun at the zoo and the

animals got hold of it? What if a bee charmer led a

swarm into a corrupt metropolis as an anarchistic

statement? What if the universe had a baby?

This curiosity towards bizarre storytelling brings

my work into conceptually strange places, which

informs my visual design.

I like to keep my imagery vibrant and sharp, using

simple forms to create characters. Character

design is integral to my practice, creating avatars

that I can use to explore my worlds.

These worlds are ultimately extensions of myself

and the things I love, poured through a visual filter

for others to see, and hopefully, connect with in

some way.

ELEMENTS OF MY PRACTICE

HUMOUR

‘Illustration’ works as a legitimate platform

for beautifully rendered imagery and

somber pieces about hard hitting issues,

but I find myself increasingly disillusioned

by how saturated the market is with

‘safe’ pieces of work that look pretty

but don’t function on any level beyond

that. Therefore, I prefer to view my own

Illustration as a form of entertainment and

humour, to break through the boredom

barrier that so much contemporary

illustration is stuck behind. I want my

work to be interesting on levels that

aren’t based entirely on aesthetic beauty,

but also ideas and content too. Having

a bizarre sense of humour in my work

takes it outside of the expected and into

the realms of ‘weird’. Normality is anti-

progressive, only by embracing the weird

can we be truly innovative.

CHAOS

Sometimes my audience will find

my sense of humour confusing.

This bamboozlement from a lack of

context is a wonderful reaction that

not many illustrators try to elicit, so

I derive a great level of enjoyment

from seeing the confused, often

disturbed, reactions to my work

from peers.

HONESTY

It would be a lie to say that my

practice is always a saccharine

wonderland of fertile creativity and

exploration. Creativity is terrifyingly

unpredictable and can quite often

make me feel like I’m going insane.

The only way to solve these feelings

is to keep making until something

good comes along. If my practice is

in a dark place, so am I. Sometimes

the anxiousness that this constant

self-reflection spawns can cripple

the creative process, but I have

also found that I produce my best

work in this period, being inspired

by personal paranoia to create

autobiographical content. Therefore

it is safe to say that feelings of

dread, insanity and despair all fuel

my practice in unexpected ways,

and keep me being productive.

PLAY

In these times of self-loathing it’s

best to remember why I’m doing

what I do in the first place, and what

this can all mean to my current

practice. Essentially, all Illustration

is a form of play. In this case we

are playing with visuals, much like

we would play with toys when we

are younger. Therefore, I find, that

if I can view my practice in this

way, constantly playing with both

ideas and picture elements and

most importantly finding the fun in

the things I make, then the process

of making can become a lot looser

and genuine innovation can take

place.

Although I can see the appeal in a tight and

controlled image, I find that once you’ve

reached that stage of supposed perfection it

can often remove a lot of the intrigue from

what’s been made. Due to this fascination

with more lo-fi approaches, I sometimes

enjoy to have unfinished, looser elements in

the work I create. With digital processes this

is a lot more difficult to achieve. However,

this year has enabled me to work in a way

that carries the stigma of being bad (with

work being reminiscent of MS PAINT) and

then using this working methodology, with

an increasing knowledge of composition and

colour, to create work with artistic merit.

I mostly work with the pencil tool, using sharp

pixelled square brushes to create my pieces,

the result being lo-fi digital paintings. With

this process I’m constantly searching for

the balance between low quality and over-

rendered imagery, a state that’s incredibly

difficult to achieve. However, with each

image I make in this way, I gain more of an

understanding of the way I work and how to

refine it, or even un-refine it, in the future.

Recently I’ve been keen to use a minimal

range of colours within each piece I make.

This helps to unify the sometimes busy

elements of the pieces.

Whilst digital techniques have been the

most prevalent parts of my practice in this

final academic year, I also am keen to not

abandon my traditional, pen work. However

the digital processes have allowed to me to

return to my pen-work with a better idea of

character composition and more sensibility

regarding shape and form.

PROCESS

INFLUENSPIRATIONS

WEIRD WORLD CINEMA (MOSTLY ASIAN)

Watching strange movies from across the

world has become a fascination of mine, and

only recently has this love of bizarre cinema

crept into my work.

I enjoy watching movies that are genre mash-

ups. Combining ideas from many sources

can result in something that appears to be

brand new, and in the case of these films,

strangely unique. And though these films are

unique in their approach to filmic storytelling,

they are all united by their weirdness.

Asian cinema in particular seems, to me, to

be at the forefront of intriguing storytelling

possibilities. More recently, however, I have

found a fantastic range of technicolour films

from the 1970s that also display the same

sensibility of strange invention and an odd

sense of humour.

Ultimately what’s wonderful about these

movies is that each artefact is quite

unlike what the mainstream perception of

cinema appears to be. They are windows

into other worlds. Places filled with colour,

compositional quality and accentuated

character.

In this sense they inform what I make more

than anything else, as I constantly look to

imbue my work with these same qualities,

mashing up elements to create something

that is weird and therefore ‘new’.

STRANGE BOOKS

This collection of strange books that I have

amassed from second hand book shops

has been particularly useful in informing my

practice over the last year.

Dipping into these tomes can be both a

blessing and a curse. There’s so much

inside to draw from visually, but eventually it

can turn into self indulgent escapism, to the

point where the mental imagery becomes so

overwhelming that it seems impossible to do

it justice.

Nevertheless, they’re an excellent resource,

and fascinating to read. If I could replicate

a small part of the intrigue that these books

carry within my own work I’d be happy.

DAVID O’REILLY

His animation work and general internet

presence has been hugely inspirational to

me. Through his work, he comes across as

somebody who is aware of culture around

him, and how it in turn influences the creator.

The sense of humour present in his work is

admirable, and his lo-fi approach to creating

work has pushed me to discover my own

way of using digital processes in unexpected

ways.

WE LOVE KATAMARI

We Love Katamari is an insane game

created by Namco. Aside from the innovative

gameplay, the visuals have had a ton of

attention and love poured into them. The

incongruous elements that make up the

world of Katamari are, much like everything

else, influential because of their weirdness.

SHIGERU MIZUKI

I recently discovered his work and fell in

love with his drawings of Yokai Monsters,

creatures from Japanese Folklore.

The drawings are beautifully detailed, but

also contain comical elements. The two

combined create a fantastic world that you

can’t help but want to explore, touch, feel, be

inside...

CHILD ART

Drawings kids do tend to be a lot better than

grown-up drawings, in terms of character

and expression. I’ve put a lot of work in

recently trying to undo the tightness of my

pen drawing and go back to a more childish

aesthetic.

RETROSPECTICLES

NEGOTIATED PRACTICE

This was a huge learning period for me, during

which I discovered the flaws within my practice,

which I could then take forward and learn

how to solve. The project started with high

ambitions to create a narrative, with the theme

of british folklore, magic and the supernatural

as a starting point.

My mind flitted from idea to idea, with different

narratives forming and dissipating in my mind

within the spaces of mere days. I realise this

now as a lack of focus, and I was backing

out of project ideas down to fear rather than

solving the problems head on.

The parts of the project I enjoyed most were

the spontaneous experiments that have

influenced me further down the line in my EMP.

The most notable process to come out of these

spontaneous pieces was the experimentation

with lo-fi processes on photoshop to emulate

microsoft paint. These were created in a period

of creative dryness, and suddenly re-ignited

my practice in interesting ways. However

at this early stage, I hadn’t had the time to

experiment with and refine this technique in

any wholly meaningful way.

Nevertheless it’s important to remember this

project as being part of a continuing body of

work that has flowed onwards into the EMP.

All the pieces made here were essential in the

development of what I am currently making,

and what I’m sure to continue to make post-

graduation.

I also managed to find a way to compile all

the pieces made during this project into a

humorous and chaotic glimpse into my ‘Identity

Cruise’ throughout the course of negotiated

practice. Including unfinished themes, doodles

and ideas that came together as a celebration

of my failure to focus. This compilation meant I

could look back on the works created and find

new value in them as lovable malfunctions.

EXTENDED MAJOR PROJECT

It took me a few months to get going, but

interesting things began to happen in this huge

space of time between December and May.

For a start, I realised that my lack of focus

during longer projects could work in my

favour when tackling shorter projects. This

meant more openness to collaboration and

unexpected projects, like the Jimmy’s Iced

Coffee 24 Hr Brief.

These shorter briefs, normally one day long,

led me to make surprising creative choices,

and eventually I shifted back into making

digital work with the crunchy aesthetic I had

been exploring before.

I also began to experiment with moving image,

kick started by the GIF workshop I organised

and leading on into my response to D&AD’s

Make Your Mark Brief. This, again, meant the

fast paced creation of imagery, which led to an

inability to be too critical of what I’d produced.

Post the D&AD brief, my work ended up going

to interesting places visually. I became much

more confident with the application of colour

(in some cases, perhaps too confident). Colour

has been less-present in my work previous

to this, due to colourblindness making it feel

awkward.

As I continued to use colour, I could see how

subtler combinations could also work in my

favour, and created limited colour imagery,

which I consider my strongest to date.

This unit was not without it’s hard times of

wobbly indecision and future-fears, but now

I’m finishing it feeling a lot more confident

about my practice, knowing that within months

I’ll have a whole new bunch of imagery to

add to my portfolio. This constant evolution

and refinement of aesthetic alongside a more

constant work ethic has been extremely

gratifying, and I can’t wait to see where it goes

next.

I feel that collaboration is essential

in this current illustration climate.

The romantic notion of the

isolated illustrator seems to be

less fetishised within illustration

practice, with illustrators instead

turning to social networking and

blogging to create vast networks of

people to work with. Collaboration

can also teach the individual a lot

about their personal practice, with

new or completely different ways of

working informing their own work in

unexpected ways.

This year I became a part of

a collective, Mystery Sachet,

alongside Louis Wood and Nathalie

Moore. A lot of the work created

within this has had a humorous

edge. The briefs tend to be a day

long, creating fast-paced humorous

content without the luxury of

reflection time,

COLLABORATE/MYSTERY SACHET

STRUMPET CRUSH

A 24hr LOVE ZINE created on

Valentines Day. Besides artwork, it

also contained a short story I wrote

called “Story about a man who falls

in love with his own heart”, which

Louis illustrated.

LEGITIMAT SEXY FASHION SHOW

A day of puppet and doll making,

ultimately ending with a sexy

fashion shoot and a makeshift

catwalk. I then took these photos

and edited them into an ‘ultra-

professional’ video, which aroused

many.

GIFPOCALYPSE

A one-day GIF workshop we

ran involving 10 or so students.

Everyone got together to create

apocalypse themed GIFS.

FURTHER COLLABORATIONSCORPSE MILK

I gathered a diverse bunch of illustrators (2nd

and 3rd years from AUB, Kingston University

students and Japanese Aimi...from Japan)

to create halloween based comics. This was

published in digital form.

SECRET ZINE

A zine I participated in, drawing images of

visiting tutors Marcus Oakley and Salvatore

Rubinno. I chose a few of the most cutting-

edge illustrators in my course to be involved

in the project, and it was nice to see that I

made the correct choices.

1000% BUTTITUDE ZINE

A collaboration of nudey drawings made for

the NAKED Exhibition, put together by Elliot

Coffin and I.

LIVE DRAWING EVENT IN BOURNEMOUTH TOWN CENTRE

I was involved with a group of students in

creating a strange woodland scene at an arts

event, poorly organised by a girl who didn’t

seem to know what she was doing. It was a

strange day, with an eerie fog hanging around

the triangle, along with friendly vagrants who

wanted to share their own chalk masterpieces

with us. Nevertheless, it was an unexpected

and fun experience, working at a larger scale

than usual. A shame, then, that the board

was chucked away by the ‘organiser’. And

she was from Arts and Events management.

Shame on her.

JIMMY’S ICED COFFEE- 24hr LIVE BRIEF

An event set up by marketing in which an

Iced Coffee Merchant gathered students

from various courses together to create

ideas for him for free. My group decided

to take a humorous approach to the brief,

where others were taking it dead seriously,

and created a mock advert for Jimmy with

cheeky pokes at his business. I edited the

video later, my body surging with Iced Coffee

after-effects. The result made Jimmy and the

marketing team laugh, and even inspired a

slight smile from a rather surly graphic design

tutor who was present.

Jimmy, being the benevolent being he is,

decided that he liked ALL the briefs and

wanted ALL of them done for him for free,

which was really kind of him. As time has

passed, I feel that doing anything for him for

free would be counter-productive in terms of

making a living off my trade, and despite him

being a very nice man, I would want to come

into some kind of financial agreement with

him before embarking on any projects.

NAKED!I was happy to be one of fifteen students involved in participating work to student-led exhibition called NAKED at OPEN SPACE gallery. This participation slowly became curation of sorts, myself and three other students taking the helm and setting up the gallery space.

This was not only great for me as a turning point within my work, but was brilliant experience in organising an arts event, and working out where to hang pieces of artwork in relation to others. It was a wonderful weekly diversion from my general practice and an opportunity to work alongside peers to create something special.

Curating this exhibition also involved working with Elliot Coffin to create a companion zine called 1000% BUTTITUDE: This zine contained sketches and rougher works from the ‘exhibitionists’ in the show. Gathering and designing this booklet was really fun, again learning how to handle a

vast and diverse range of work.

ONLINE PORTFOLIOWEBSITE

My main funtioning portfolio is my

website, which I consider to be the

most universally accesible means

of getting clients to see my work.

Creating the website has been

useful in helping me to edit down

my work and find the choice few

pieces that both show my artistic

prowess and represent me as a

creative warrior.

This meant creating a slick,

professional design to contain the

vividness of my imagery. It’s all

about finding the right mixture of

chaotic vibrance and professional

minimalism, thus catering for,

and displaying, both facets of my

creative services.

PDF FOR IPAD

For the sake of my portfolio review

with Gina Cross, I created a pdf

document that can be viewed on

the Ipad. I felt this was necessary

in keeping up with the ways that

potential clients now look at work.

My pieces also look fantastic on the

high contrast/brightness screens of

the Ipad.

MY BLOG AND ME <3

Tumblr is an intersting tool in

seeing how productive I’ve been

during previous months. Seeing

this growth of content over the past

few has been a really satisfying

experience.

I chose a minimal theme for my

blog, and this runs alongside my

website nicely. I didn’t want a blog

where the cursor was something

sparkly or the background was

yellow with strobe effects. Though

now that I’ve written that, I kind

of do want it. A lot. But I’ll resist,

because the minimal theme is

useful in containing the ‘colourful-

business’ of my work.

I haven’t had a lot of followers, but I

feel like that’s not a major problem.

I’ve been using the blog as more

of a ‘madman’s image dump’ than

a ‘professional diary’, uploading

images pretty much every single

day. It’s more fun not explaining

the work, rather than filling my

blog with words. I want it to be

confusing upon entry but intriguing

nonetheless, like rifling through the

rucksack of a dead clown.

TWITTER

I set up a Twitter account to promote

my creative practice. I seem to be

slowly getting more followers week

by week, but I’m also quite unsure

how to gain more, and whether

I should be aiming for a large

amount of followers or just specific

followers of honourable repute

(meaning industry professionals

and potential clients). Most of

the time it just makes me feel like

I’m intensely staring at someone

famous from across the room, but

they aren’t looking back at me.

But it is slowly growing, and

hopefully by submitting work to

websites to get featured, I can get

more twitter exposure and become

more involved with the online

networking world.

EXTENDED THOUGHTS ON TWITTER

Twitter often feels like a dangerous playground, with industry professionals riding the see-saw, working out the balance between sounding like egotistical success-fiends and sad little ordinary people. This results in an ambivalent environment where nothing feels entirely real because no-one feels safe to truly express themselves. When trying to write a ‘tweet’ my mind turns to PONG, with one paddle representing what I think I ‘should’ be saying and the other representing what I want to be saying. Usually, what I want to be saying doesn’t feel ‘professional enough’ and the resulting tweet ends up being fairly mundane; informative but depersonalized, and I find that troubling.

I have the same reaction to

seeing Illustration peers I know well interact on twitter, talking about practice in a way that doesn’t feel entirely genuine. My twitter feed is a mixture of creative professionals sharing success stories and awkward tweets from young practitioners trying to garner their attention via insincere shout outs. I know this because I too have tweeted my fair share of these in an attempt to gain interaction with ‘cool, famous types’. All of this makes me feel like a shallow being.

But is there anything inherently wrong with this process, or is this just the nature of the industry in general? I imagine that if we were to pretend that Twitter was a physical location,

a real networking event filled with both industry professionals

and their followers, then the method of self promotion would not be too dissimilar. Of course, with the amount of followers they have, more successful practitioners would be crushed to death by their adoring fans, but physical logistics aside I think interactions would be vastly similar. Insincere statements happen all the time within real-life networking events and make excellent conversation starters. “Please be my friend and see me as a legitimate creative being” becomes “I loved your new book, it was really nice” (even if their new book was only vaguely interesting to you). Perhaps Twitter just exposes these shameless acts of self promotion for what they really are, because to do it in real life requires courage. Doing it online requires a keyboard.

Despite all this, I’ll continue to use Twitter to promote my creative practice. I think the best

way to move forward with comes with understanding it. Yes, it does encourage me to create a fake, hyperbolic version of my creative lifestyle (without the bouts of self doubt that are part of daily practice), but hopefully in being aware of that I can avoid coming across as a vague construct and more of an actual human being. Twitter may be a dangerous playground, but real playgrounds are also dangerous. Taking risks never hurt anyone. Except for all those kids who died in playgrounds. This article is for them. #deadkids.

PROMOTION OF THE MEREPETITION OF SIMPLIFIED FACEa section written from the future sent back in time by an art critic

“Jonny chose to promote his

practice through the perpetual

repetition of his own face. This

avatar became an invitation into his

world, and how he viewed himself

as an illustrator; young, vulnerable

and with a round head. Many of his

peers viewed this as an obnoxious

move, a cavalcade of vanity spam

with no inherent worth as a self

promotional tactic. It’s likely that

it was a desperate attempt to

immortalise himself as an illustrator,

an individual, without putting in the

essential groundwork.”

At the time he believed he could

hop his way to success via

stepping stones of his own visage.

If he could make himself famous,

then his work could follow in his

face’s metaphorical footsteps.

This promotional device, although

a narcissistic blimp-ride towards

success, was often buffeted by the

winds of ‘real-world-logistics’. He

seemed to be ignorant to the fact

that other people in the world could

also have glasses and ginger hair.

In fact a lot of other people

actually had ginger hair for real,

and his was more of an auburn

haze.

Nonetheless,

this ‘simpliformation’ of himself

was a useful tool in linking

together his internet presence.

It’s important to remember that

he achieved all this in an age

where the internet was incredibly

difficult to use, well before

personalised URLs became a

birth-right.”

Written by Critic-bot 2073

Model by Allie Oldfield

GIANT VERSION OF MY OWN HEAD

A giant version of my own head,

made of cardboard, has been

utilised in the past as a promotional

strategy at parties. Various

problems with the head include no

eyeholes, balance difficulties and a

lack of breathing space. However

these issues are trivial when

considering the general outward

aesthetic of the piece, which serves

as a reminder to all of my inflated

ego, physically ‘masking’ my true

and vulnerable self.

It also looks really good on other

peoples bodies... Especially the

topless guy.

BUSINESS CARDS

I haven’t yet sorted out my

business cards, but I definitely

have a professional plan for when

I do. In fact I have THREE.

Plan A)

Instead of making Business Cards

I am offering a unique service in

which instead of potential clients

taking my card home with them,

they get to take ME home with

them, for at least a week. During

this time I will constantly remind

them of my existence through

obnoxious shouting and hijacking

of their social networking. I will

wear a red t-shirt with my name

on it. This relentless ‘notification’

system will eventually, with luck,

land me an industry job. I will treat

restraining orders in a similar way

to rejections, seeing them as an

indication of my supreme efforts in

networking.

Plan B)

A BUSINESS CARD with a

drawing of me on it. The drawing

has perforated edges so you

can push it out of the rectangular

card and have a miniature

cardboard version of me. By

bending the legs and putting blu-

tac on it’s butt you can sit him on

your desk where he can watch

you forever.

Plan C)

Print some normal business cards.

COMPETITIONALS

LITTLE WHITE LIES

I entered a competition that Little

White Lies was running to promote

Wreck-it-Ralph. The brief was to

create a videogame titlescreen

in MS PAINT, with the theme

being ‘disney movies’. I took a

less serious approach to the

competition (something that, since

winning it, I realise is the best thing

to do in most scenarios). This didn’t

win me any exposure at all, but it

does sound more impressive than

it actually is PLUS I won an Ipad

Mini, which was a nice reward for

about an hours work.

D&AD

Some of the most fun I’ve had

creatively during third year was

answering D&AD’s ‘Make your

Mark’ brief, giving myself just a

week to create an outcome. Like

the Little White Lies brief, I deviated

slightly from what I think the judges

are expecting to see. It was great

fun, and directly influenced the

shape of my work in the following

weeks so much that I WOULDN’T

EVEN MIND if i didn’t win anything,

because the artistic repercussions

were so fat with creative juices

that my belly is now swollen from

consuming it all.

I would really like to get some

recognition, though...

AWARENESS OF INDUSTRY

Visiting lecturers and tutors have

given me a fairly good insight into

the financial aspects of practice

within industry. Anna Steinberg’s

lecture and following workshop

regarding commissions and

pricing, along with the talk from the

AOI about copyright have given

me a greater understanding of

the logistics of being a freelancer.

Talks from Hayley Potter about self

promotion tactics have also been a

great resource.

These talks have also aided me in

my awareness of potential pitfalls

that I can avoid, pitfalls I would have

otherwise fallen into and learnt

about through my own mistakes.

I still expect mistakes to happen,

but hopefully they’ll be significantly

less dramatic since gaining this

knowledge.

There are steps that I must take to ensure that my

post-graduate experience is not filled with too much

suffering or regression of character. Luckily, I am in

a position to push my practice in multiple directions

through the promotion of self and the continuation

of the work ethic I have developed throughout third

year.

This work ethic involves not becoming complacent,

perpetually setting briefs for myself and taking on the

briefs of others. My fast paced working methodology

means that one day/one week mini briefs are well

suited to me, which could be a fantastic skill in

regards to the industry. This skill could be especially

useful in regard to Editorial briefs, a place that my

style of work could also fit into with refinements.

After graduation, I’ll be sending my work out to design

institutions and publications, making contact with and

presenting myself to as many people in-industry as I

can. The best way to view this activity is to see these

people not as clients, but as professional friends.

Formal, friendly relationships are key to networking

success, and being amicable towards people is more

productive than seeing people as money farms. I see

myself as a service for clients, rather than seeing

them purely as a means of income.

FUTURE PLANS FOR THE FUTUREI’m keen to keep that sense of community felt at

university after graduating. This will be a lot easier

due to the internet, but physical interaction has

become an important part of my practice. As such,

I hope to continue to develop the Mystery Sachet

Collective into something more marketable. I’m also

interested in the curation of others work, particularly

in setting up some kind of platform for innovative

illustration with the focus on works that are humorous

and bizarre. My main fear of the future is introspective

anxiety, so pushing my practice in collaborative

directions is essential for my mental wellbeing. The

only way to combat these dastardly future-fears is to

just DO stuff. In doing, I can only progress towards

something better.

I’ll also continue to make my authorial work, as any

self-led piece could become portfolio material and

lead to commissions. I’m keen to set up some kind

of web-comic, as a portal to an audience with which

to share my sense of humour and ideas. I’ve found

this goal difficult to achieve within an academic

framework, so I feel that it is very much a tangible

possibility now. In this way I hope to build up an

internet audience, and perhaps eventually rely less

on being employed by others to showcase my work.

Perhaps.

EXHIBITIONS I’VE BEENINVOLVED IN2013

NAKED - OPEN SPACE gallery, Bournemouth

WORDS AND PICTURES - BIC, Bournemouth

2012

EQUINOX - Cafe Boscanova, Boscombe

TROPICS - Cafe Boscanova, Boscombe

2011

HIBERNAL - Cafe Boscanova, Boscombe

LINKS OF RELEVANCE

MY WEB PRESENCE

www.jonnyclapham.co.uk

www.jonnyclapham.tumblr.com

www.twitter.com/jonnypclapham

VIDEOS

Jimmy’s Iced Coffee promotional video:http://www.youtube.com/watch?v=vQA4vmyrIOM

Mystery Sachet Fashion Paradehttp://www.youtube.com/watch?v=27ZCX6Eng5k

PUBLICATIONS

Mystery Sachet Presents: Strumpet Crushhttp://issuu.com/jonnyppclapham/docs/strumpet_crush

JONNYJONNYJONNYJONNYJONNY

JONNY