THE ART MAPSIX TO WATCHKICKSTARTER EDITION

A Monster is a fierce creature that awes and in-spires, a Monster is fearless underdog, a mon-ster redefines how we see things. A Monster, also, shows; it shows what we are afraid of, what we desire, it embodies and demonstrates our dreams and nightmares.

Monster means ‘to show’, to demonstrate, and this e-catalogue titled ‘Monster’ shows what Art Map London is all about. It is about helping one find inspiration, it is about ignoring titles and be-ing fearless to say ‘this is awesome because I love it’ as appose to ‘this is awesome because the famous gallery/collector/critic/dealer said its awesome.‘ Art Map is about redefining the Lon-don art scene and destroying the stereotypes that are hurting young artists, emerging curators and galleries.

The artists in this e-catalogue are the ones that awed and inspired me to work harder. Some of their work became my silent companions that re-mind me why Art Map London is important.

This collection - like any collection, will show you more about the curator than the collection, and as you will see, I do love Monsters.

Jenny Judova,

founder of Art map London

MONSTER

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CASSANDRA YAP

Cassandra Yap

How did it start for you, how did you become an artist?

I took the non-conventional route; I went to art college, but I took graphic design. I guess many people do that type of thing because financially it is a more stable direction to go down. I did graphic design and then I went into advertising and did that for ten years. I picked up screen printing as a hobby and a passion from there it spiralled into doing my own art works, selling my work, and then doing a couple of shows. It started as a labour of love and something that I really wanted to do but wasn’t really sure about

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CASSANDRA YAP, VOYEUR

doing. I think the response has been really good, and the stuff I am doing isn’t too commercial because it’s a little bit erotic, a little bit dark, a little bit controversial, and sexual. I think it stands out in a way cause there is nothing similar, in the illustration world anyway. I started of doing something that was not completely art based, but I evolved into that.

Could you tell me more about your practice at the moment?

At the moment, I am a screen printer. I work with what inspires me at the moment: it can be my travels; it can be my current state of mind or emotion. An idea can just pop up when I am on the

tube, and I will just go with it and make it happen. For example, the ceramic idea I just got in touch

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5CASSANDRA YAP, LOVE VS LUST

with Sky and asked ‘do you want to do this? Do you want to collaborate?’ And as an artist you have

to do this, you cannot sit and wait around for luck to come to you, you have to pursue your dreams..

So currently I am a screen printer and artist. I do love drawing, but what I love is taking old obscure

photographs, mostly of pinups, and interpreting them and giving them a new lease on life in a

beautiful, edgy way. While many use paint as a medium, I use old pictures combined with modern

things. At the moment, I am looking to screenprint mixed media, and doing a studded screen print

with metal spikes. I have played around with studs [she used spike studs on the frame for one of her

works] but now I want to stud the actual print. I dabbled in experimental printing before, and I find it

very interesting. I mixed image transfer with mono and screen printing. Its nice to mix different

techniques, you end up with a more interesting and bizarre visual.

Where do you see your practice heading?

I am looking at three dimensional prints; I was also toying with the idea to do a double sided print: a

story at the front and a story at the back. I am also playing around with materials, for example, I

started using diamond dust, glow in the ark paints, and for this exhibition {here she is referring to

Dalston Screenprints at Dalston Superstore during which the interview took place] I use silver leaf.

Screen printing is great, but it’s nice to experiment, like screen printing on aluminium sheets, or

anything flat, or finding new ways to do that. I am trying to find new ways; I am working on a project

to do three dimensional ceramic stuff with print. Screen printing can evolve in so many ways. When

the QR codes just came out I did a screen print with a QR code in it, so when you scan it it took you

to a page that gave you something else, but then the QR code just died. I always try and find new

ways to reinterpret the screen print.

In a perfect world where time money and resources ar not an issue what project would you like to

do?

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CASSANDRA YAP, LOVE HURTS

I would love to set up a gallery bakery and a screen printing studio.

A bakery, as well?

Yes, because I do love baking. And I work as a baker once a week, but the cakes I make tend to be

more like sculptures and art more than actual cakes. I always said that if I win the lottery I want to

set up a printing studio, and if money was not an issue I would like it to be free and open. Because I

know, screen printing can be a very expensive hobby for some people. And the material are not

cheap, but if there was a space that is open that would allow people to just come in and play

around, and exhibit, and also eat cake. I think that would be the dream.

If you could not be an artist what would you do instead?

If I could not be an artist, I think I would put all of my efforts and time into trying to become an

artist. Cause I don’t think, there is anything else that would interest me. I think that art takes so

many forms; whatever you try and do it always comes own to being creative. And if I couldn’t do

that I am not sure I’d want to do anything else.

What advice would you give to someone who is considering collecting art?

I think you should go with your gut, with what you love and what gives you pleasure. I think when

you look at a piece of art it should awaken your curiosity. It should make you excited, it should

intrigue. I think those elements exist when you look at a piece of art then it’s probably the right

piece of art for you. I think you should not buy art for the sake of the name or because it will be a

good investment because it does take the joy out of owning art. Buy what you love, that’s what I do

anyway. I don’t know if that the right way but make your own mind on what’s beautiful – that’s most

important.

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ADAM SLATTER

PHOTOGRAPH BY EVA IOVA

Adam Slatter

How did it begin for you, why did you become an artist?

Basically as far as I know from an early age I got given paper and pen and pencils and crayons or whatever, and I just used to sit there for hours and hours on end daring mindless and mindless imagina-tions like you wouldn't believe. I distinctly remember drawing cars with guns on them and recreating war scenes. I don’t know maybe I was slightly tormented, but that’s where it started. And as far as I know I continued that passion all the way through primary school, I was very interested in creative and crafty type subjects, and then in high school that’s what I specialised in. And obviously I had a broader view of art in high school and a lot of things opened up like sculpture and fine art, I had a broad inter-est and never specified in one area in particular and then decided that I really like drawing cartoons so I thug i’d be good at illustration done that at Uni and then realised that my heart lies in fine art.

So at Uni you went for an illustration course not fine art?

Yes.

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What is your practice now?

Occasionally I like working on big canvases; acrylic is my medium, along with typex pen and felt tips. I like to give a graffiti-esque effect on fine art foundation. When painting with acrylics, I use my hands as opposed to paint brushes. So paintbrushes are only for the finer detail. I never plan, and I always use my imagination, so it’s spontaneous. Its whatever has affected me on the day, the week, the month, the year.

Its not just the paintings that you do you also have the prints?

Oh, the mono prints! I forgot about the mono prints; I am currently working with mono prints; I only work in black and white I did colour mono prints at uni which i absolutely loved, but I distinctly like B&W now for visual effect. Currently working on random objects combined together completely of the cuff, but, hopefully going to turn that into a children's book one day. Cause the children's book needs to be unique because there are far too many generic children books that look the same. Beautiful in their tech-nique but there has to be something that stands out.

How do the monsters come into this?

At the time, I had a fascination with monkeys as you can see. They are like monkey monsters I call them

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13ADAM SLATTER, NINJA MONKEY 1

14ADAM SLATTER, NINJA MONKEY 2

space monkeys. They just came from the back of my imagination. I don’t necessarily like to do tradi-tional art I’ve done that to death at one point. If you want a detailed drawing, I can do a detailed draw-ing of a monkey for example. But I like this distorting and morphing and deforming, people and ani-mals but mainly animals at the moment. People basically get a sense and the shape of the animal. That’s what interests me the most trying to evoke a reaction and I like if people don't see a monkey. I showed a picture to my boss the other day [Ninja Monkey II - available with the kickstarted cam-paign] and I said, ‘that’s a space monkey’, and he looked at me and said ‘what fucking monkey have you seen?’ and then he says ‘I see a moose!’ That was brilliant; I love when people see different things.

Where do you think your practice will go? Will you stay with the prints or?

Well as there has been a resurrected interest in the canvases, and I love working big. I don’t like working small when I am painting I think it’s only onwards and upwards. If get a chance, I’d love to start doing

murals.

In a perfect world where time and money are not a limitation what would you like to do?

In regards to art?

Yes, and then in regards to anything really, what project would you like to do?

I’d love to found my own eccentric art school and not be elitist at all, and welcome all, and bring out the potential in anybody. Anybody who says they can’t draw or that they are not creative - i don’t be-lieve them whatsoever. And there is so much fun and exploration that you can do with art. Its therapy, you can get a lot of therapy from art. You can expose a lot of issues a lot of emotions just by putting pen to paper or paint to canvas. I’d love to establish loads of art schools and make the world a hap-pier place.

Its a great plan especially with the rising cost of art schools.

And of course make it free to people.

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16ADAM SLATTER, ASTRO MONKEY

If you could not be an artist what would you do instead?

That’s a really good question …. oh god; I am dumbstruck on that one. It’s very boring answer, but my other passion lies in fitness. I’d love to own a gym, and train people because I like to help people achieve their goals.

What advice would you give to someone who wants to collect art?

I’d say go with your heart, don't go with anything else, go with what you like, cause art always changes and trends come and go, fads come and go fashion comes and goes. Go with your heart, enjoy collecting, and don’t conform to what others say. Art is there to be enjoyed, and you should not worry about the money side of things.

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GUY HADDON GRANT

Guy Haddon

How did you become an artist?

I had very little choice; I found myself being an artist, as it were. The moment it became clear was

when I saw art teacher sketch books, the moment I saw those I realised what might be possible if I

directed my energies. There weren’t a lot of active decisions involved; I just continued doing

whatever it was that I fancied doing. And by the age of 21 I had very few other option.

What is your practice now?

It is a very difficult question to answer. It is… broadly speaking… very figurative… in terms of

sculpting people, but not to the point of exclusion of everything else. As ideas occur to me, I will

start following them. They may be themes or just a single idea that I can work out in a single piece. It

is hard to define, because each piece means to say something different. It’s easier to see from an

outside perspective – the similarity between things.

Do you sculpt from nature or imagination?

A mixture. The busts you can see here [nods to the busts behind him, and a large scale work in the

corner] that’s Earl, he is a Big Issue vendor that I was sculpting and painting, we had him in the

studio for three months every morning. I did lots of drawings and various sculptures, and paintings.

Then there are lots of made up things - these two figures [points at two works behind him], or the

black wax figures – I couldn’t get.

Actually making it up is often preferable because you are not tied to getting it precise, you can be

loose with the truth. Sometimes I use photos as references, but more for drawings and paintings

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20GUY HADDON GRANT, SKULL

than sculpture.

Did you come to sculpture straight away or did you experiment with other mediums first?

I always drew and always sculpted as far as I can remember.

Always figurative?

It was maybe a bit more illustrative when I was younger, more fantasy stuff.

It was always sculpture and drawing; I avoided painting like the plague because it terrified me. The

whole idea of an added dimension to the whole thing - the colour, made me feel completely lost, so I

started painting when I moved to Italy when I was 21. I painted for 2 year there and briefly after I got

back. Then I found spreading myself too thin, I think to get anywhere with painting you have to do it

all the time you can’t just dip from time to time because you will never resolve any of the problems.

Where do you think your practice will head?

Again, it’s in the hands of the gods. I have no idea… hopefully I will be able to tackle more ambitious

pieces either thematically or construction wise, how time and money allow, bigger is better it’s just

more of a challenge. But I don’t have a clear direction of where I want to go it’s part of the

excitement really - what occurs when certain things strike you as worth doing.

In a perfect world where time money and resource would not be an issue, what project would you like to do?

I would turn to an old project I haven’t considered for a long time – I’d love to do my version of a

terracotta army (laughs). Fill the turbine hall with it. It’s ambitious – will take a while and will cost a lot.

Grand in scale. But it will have to be sculpted, no casts, because therein lies the fun. I can’t imagine

deriving any pleasure from just casting people. Because that’s just making moulds, and that’s defi-nitely boring.

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22GUY HADDON GRANT, FACE

If you could not be an artist what would you do instead?

Shit myself…I haven’t a clue…I have no idea…

What advice would you give to someone who wants to collect art or is considering collecting?

Your instinctive reaction is a fairly good measure whether the piece is worth it or not. Otherwise you overthink it, and you find reasons not to buy it or fear takes you.

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24GUY HADDON GRANT, FACE LOOKING DOWN

LARA THOMSON

PHOTOGRAPH BY EVA IOVA

Lara Thomson

How did it begin, why are you an artist?

I’ve never really seriously considered doing anything else. It’s the way I put my ideas across and

share them with other people. Now so more than ever, using cartoons means that I can address an

increasingly diverse range of ideas in a light hearted way, whether the theme is more serious and

upsetting, or fun, the work avoids taking itself too seriously. I can be quite obsessive, so in a way;

it’s what I’ve got to do.

From the school did you go to art school?

I went to Art College straight out of school and moved to London. I wish I could say that I was an

artist for a particular reason, to share a particular idea, a particular cause. To be honest, my

practice has changed so much while I was at Art College that there is no one thing that drives me

other than the process of producing art.

How did your practice evolve?

I tried so much rubbish at Art College!

I didn't start doing cartoons until my final year, which was around 2 years ago. Before then I did

installation, lots of sculpture. I was obsessed with the idea of the apocalyptic; it was depressing.

Originally I did painting. When I got to art college, I remember; I was still so driven by ‘I’m gonna be

a painter; I want to paint’, and my foundation year just put me off any kind of visual stuff. I went

somewhere quite conceptual; I suppose, and was told that there are different ways of doing art but

‘you’re doing it wrong’.

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28LARA THOMSON, PRIVATE VIEW

I always drew cartoons growing up and enjoyed it and found it therapeutic. Then, somewhere

along the way I just stopped doing it. I was so concerned with being taken seriously and validating

my work with other peoples opinions I let it slide then one day I just decided ‘fuck it’ this is what I

am going to do.

Where do you think your practice will go? You already tried so much do you think the cartoons will

pass or will you continue with them?

The cartoons, I think, are here to stay. I am using them for a number of things at the moment: I am

working more in Illustration and print; I am also doing some street art and murals at the moment,

and I am working on an ongoing project which originally had to be a comic book but it evolved from

that, it’s changing every day I don't know what it will be. Cartoons are definitely here to stay.

Any animation?

Possibly collaborating with an animator later on in the year. I dabbled in animation before, but not

since doing cartoons again. I tried to do digital animation but couldn't fathom it. One day I’d like to

create a game... However, the transition between games and art is a really tricky one, one of my

favorite cartoonists [Scott C] did some artwork for a game. I love his work, its playful illustration,

great great art, yet it transitioned into a game so horribly…it was bizarre. Games nowadays are so

3D, and everything is computer generated, CGI-looking, flat cartoon games are kind of a thing of

the past, which is a shame.

In a perfect world where money, time and resources would not be an issue, what would you like to

do?

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Everything! I think the first thing I’d do, if money was not an issue; I’d go and paint a massive mural

somewhere, be very egotistical and have it cover the side of a building. The legal costs wouldn’t

matter if money wasn’t an issue...

That could be a brilliant street art campaign ‘I need money to pay fines’.

I could make my own Kickstarter campaign called ‘Pay my Fines!’ and set up a fund for lots of

street artists… Failing that, I’d love to use my work as a platform for some kind of social change. I’d

need to think long and hard about what I’d want to do, but that’s something I really want to do in

the future. I wrote my dissertation on community and socially engaged art. I think it’s very important

for art to be socially engaged. However I also think there is a fine line between social engaged art

and exploitation of participants for the artists gain; I have previously used my work as a vehicle to

critic aspects of contemporary art; this was one of them.

If you could not be an artist what would you do instead?

In my first year of art school I very seriously considered dropping out and becoming a lawyer. I

even did a UCAS form and everything…or a detective. I was recently telling someone that I would

really like to work in the secret service. I’ve applied to MI 5, but they never got back to me.

Well there is art crime, you could do that.

I could, and I am more qualified than they could even imagine.

I have a friend who does art crime.

I wrote a comic about the artist James Stephan George Boggs. His work was…he drew his money.

Basically, he drew drawings of the currency of the country he was in, and he used it to barter with.

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The artwork was more an act of bartering rather than the drawings. He exhibited all over the world.

And then when he came to the UK he was arrested for counterfeit and fraud. I was reading about it

when I was toying around with the idea of pursuing law. In his argument, the defense lawyer said

he would not “put a saddle on a painting of a horse”. I thought it is such fun imagery that I did a

comic about it.

I read it [the comic]; I liked it a lot.

What advice would you give to someone who is thinking about collecting art?

Now more than ever with art it’s difficult to avoid trends. I think if you are collecting art stick to what

you like rather than thinking about what’s going to be trendy. My opinion is: don’t buy things for

financial gain you might get out of it, but for your enjoyment of it.

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LARA THOMSON, K & A (IN PRIVATE COLLECTION)

BENJAMIN BRIDGES

Benjamin Bridges

How did it begin for you? Why are you an artist when there are so many other professions

in the world?

At school I was very good at math and science, that’s what I did most of the time. Math

is the thing I find the easiest to do of all; it comes really naturally, though I think I

always wanted to be an artist deep down, but never felt it was a good enough

profession. So I thought about medicine and law and they would have been interesting

to do. I even started training as a teacher, but then I realised that I will be doing the

same job for forty years, and I had to find something to do that I would enjoy. I then

spent a few years in Austria, and I came back and there was an option to do a

foundation, and I did it cause I didn’t really have anything else to do, and I thought ‘this

will be interesting’ and I loved art. I did that and it just sort of spun from there. From

the first day, I knew that this is what I wanted to do, and I loved every minute of that,

and I loved every minute of my degree. That’s really how it started. A bit delayed, so I

am a bit older than most people with whom I studied because I did something else. I

am glad I did because it made me know that this was what I wanted to do with myself.

When you started doing art, did you know what you want to do or did you wander

around at first from sculpture to painting to drawing?

I started with sculpture, which I really enjoyed. The actual clay sculpting and metal

work: welding and cutting. I very much like making, but then someone told me that

universities like people who can paint and draw – it is one of those myths which is just

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stupid. So I did more painting, but as soon as I started painting… you know I did it to

have a broad portfolio for application, trying to be a professional foundation student

which is a bit of a joke, but as soon as I started painting I realised that I don’t want to

do anything else. I have made some sculptures like a miniaturized gallery, and I’ve

done bits of photography and drawing, but it’s primarily been painting. I’ve always

gone back to painting because you just take dirt and string, and you can mix them

together, and you can make anything… It’s really quite limitless in what’s possible: it

can just be about color or line, or it could be an image of something, or a place, or a

narrative its unlimited in that sense that’s why I find it so easy. 34

BEN BRIDGES, BOO

35BEN BRIDGES, KRAKEN

When I look at the whole body of your work, it seems to me that there are two major

themes: there are loads of portrait, and there are loads of landscapes with geometric

shapes, did you go through phases or are those two themes unintentional?

I’ve been making the polyhedron landscapes for a while and then…I sort of got tired of

it, and I thought to myself it would be nice to be 50 and to be able to paint anything. I

decided to do the portraits, but then it started breaking down, and now I paint all sorts

of things.

Things I am working on now are geometric and abstract, and drawings about line, and

drawings of explosions, and volcanoes, and mountain landscapes, and icebergs. Some

sort of strange figures riding animals; I am doing a painting of a little boy in a forest.

I think in hindsight you piece down things and put them into groups that end up being

reflective of the general interests that I have. I think I am trying purposefully for there

not to be a single line of argument my works pursue, because, to be honest with you; I

think that’s kind of vapid. I always think it’s strange when I see someone, and they

made the same work for 10 years, and I think ‘have you not found any answers, have

you not gotten anywhere with this, have you not got any interests outside this one way

of making?’ I think its based on the gallery model - the gallery wants to present this

kind of product that is clean – the ‘Artist’ with their unique vision. It’s a very modernist

way of working, and I think that if you look at people who are really exciting even

painters like Richter and Sassone – their practice is broad. They might be primarily

painters; there isn’t really a limit or a style, or a type, or thing that they keep

producing, and I think it adds longevity to it.

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I was thinking about it today… I suppose part of the problem is that I do not believe in

the idea of an artist as a genius. And I also don’t really believe that there is much

connection between vision and language. I think if you are dealing with theoretical or

hypothetical concepts language is the best tool to use for that, but actually I think we

are cleverer with our eyes than we are with our thoughts. I find the language

somewhat limiting on that, so then I end up being left with my gut feeling but I also

don’t trust that…I am a bit lost. But that is part of what my practice is - a lost point

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BEN BRIDGES, MOONFISH

Where do you think your practice will head? What are the things you would like to

explore?

I think at the moment I seem to have a temporary fixation with ice and snow. Almost

everything I am making at the moment is ice fields, or ice peaks, or icebergs, or

glaciers, and mountains, that’s the focus at the moment.

I think from making the films I have made [Ben runs a project called Hollow Earth and

for the project he often interviews artists] I see someone’s practice and its fascinating,

but then you come back a year later, and it’s the same, and I think there is a sense of

creating a product there is no real development. If you just make work again and again

that is the same you stop thinking, you stop engaging, you stop challenging yourself

and then generally it’s just bad work. It might be technically proficient but somehow

something lacking or empty in it.

The challenge is gone.

Yeah

In a perfect world where money and time were not an issue, and you had complete

freedom to do what you want to do, what is the project that you would have liked to

realise?

As far as my painting goes I would do the same. The thing I would like to do is invest in

the Hollow Earth London project, I would like to have a decent sized gallery space, not

huge because sometimes I think it can be too cavernous, but a decent sized project

space, and above that, I always imagine it as a three store town house. Above the

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gallery a couple of workshop rooms for classes. Because I do really believe that

learning technical skills can allow almost anybody to engage with art. And then above

that a set of studios. So you’ve got a group of like minded artists, hard working they run

workshops and the workshops pay for the space, and they have a gallery where they

can put on great shows. But this will not be an artist run space, because I think that

artist run spaces can be so half-arsed, and so half-hearted cause people can’t be

bothered to put the time in. I want to produce something of gallery standard yet free

from market constraints. That would be a great thing to do. That kind of level of

investment but without the market weighing down.

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BEN BRIDGES, ARK

If you could not be an artist who would you be?

A property developer.

Any advice to people who are thinking of starting to collect art

I think you have to go of your gut, you gotta buy stuff that you like, if you are buying for

a collection then you really need to be buying established or mid-market artists, but if

you are just starting out just buy the stuff you like that you really fall for, and it might

grow in value. I think because art is seen as a commodity the market is so top heavy; I

think people should buy art because they really enjoy it. Buy my work.

That’s a good advice.

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GARY RUSSELL

PHOTOGRAPH BY EVA IOVA

Gary Russell

How did it begin, why are you an artist?

Well I’ve been into art on and off my whole life, and I guess I never seriously got into till about two years ago. It’s interesting how that happened because it sounds like a made up story. I’ve done an art degree, an illustration degree, and for four years I did not do any art at all. Then when I was going through a bad time, I was diagnosed with depression, one night I had a dream where I saw people who were telling me how I should get back into my art and in the dream I saw three images. When I woke up, I remembered the dream and I decided to make the three images into pieces. Although I haven’t done any art for three years, the pieces turned out really well. I put them on Facebook and I got a good response, so I continued making more pieces. I began inspired by the dream and contin-ued by making art inspired by everything: music and books I read. It’s funny how I had the materials to make it, cause I do collage [collage requires a huge amount of existing material to reuse, so usu-ally its hard to do a collage on the spot unless you have loads of old newspapers, magazines and print outs lying around]. When I was at Uni I went through this phase where I was photocopying every-thing, and inverting stuff; so I had this whole bag of old photocopies and for some reason I kept those even for the four years when I was not doing any art work I didn’t want to throw them away. When I got back into my art again two years ago l realized that I have this bag of photocopies and I have this bag of photocopies from Uni, so I started using that. And I am still using bits of that now ac-tually, like some of the pieces I make now have bits from pieces I made 7 or 8 years ago. I think I got back into art to give me a sense of purpose. And also to cope with what was going on at the time.

Now you are doing collages, but at University did you experiment with other mediums?

Well when I started Uni…when I’ve done my national diploma beforehand, I was really into screen printing, and I hadn't done any collaging at all. In the second year of Uni, I lost my way, and I didn't know what to do. Once you finish the national diploma you have this style, and I was very protective of mine, and then at university they try and break you out of it. I am not a very strong drawer so I couldn’t find a way of getting my ideas out that I was happy with. It was only in the third year of Uni that I got into doing collages and photocopying. That’s how I got into collage - it was similar to screen printing in a way that I could get my ideas across and getting around drawing and painting - another way of expressing myself and having a result that I was happy about afterwards.

Where do you see your practice heading, will you stay with the collages or will that pass?

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I think I would like to get back into screen printing. It was good doing it at uni because it was just there for you and free, but then the hard thing in London is finding somewhere where you can do screen printing. I would like to take my collages and make them into screen prints. I don't know what I will be doing in the next 5 years time, but I think this will be the next step. I would also like to work bigger, at the moment I am a bedroom artist, and I’ve been doing small work, but I want to work on a bigger scale.

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GARY RUSSELL, BJORK IS A CAT

44GARY RUSSELL, GOD

In a perfect world where money, space, time - resources in general were not an issue what project would you like to do?

I would love to do an installation at the Turbine Hall in Tate Modern. I guess I‘d like to have my own space like a shop, or art studio. And I would like to do work abroad like an installation in Berlin and Bar-celona. I would like the freedom to go anywhere. I would like to get into sculpture, if money was not an issue I would like to make big installations, and also what I would really like to do is to start my own de-sign label that would do home furnishings, t-shirt and tote bags. If I had all the money in the world I would like to open my own line, I guess it would be similar to Orla Kiely.

If you could not be an artist what would you do instead?

Can it be related to art?

45

GARY RUSSELL, GIANT CAT (ORIGINAL COLLAGE)

Well I guess in your case it will be, if its a designer line.

Yes, I would like to have my own label, my own brand, and a small shop.

What if it could not be anything art related?

If it had nothing to do with art at all… I would like to be a writer or a psychologist.

What advice would you give to someone who wants to collect art?

Don’t pay too much attention to trends, and thinking what will be valuable, or thinking what they should be collecting. They should buy what their heart goes with.

46

GARY RUSSELL, GIANT CAT

47GARY RUSSELL, WOLF

Cassandra Yap’

http://www.squeegeelove.com/

https://twitter.com/Squeegee_love

Guy Haddon Grant

http://www.haddongrant.com/

Lara Thomson

http://www.larathomson.com/

Benjamin Bridges

http://benjaminbridges.com/

http://www.hollowearthlondon.com/

https://twitter.com/benbridgesart

Gary Russell

http://garyrussellart.tumblr.com/

https://twitter.com/Garyrussellart

Art Map London

http://www.artmaplondon.co.uk/

https://twitter.com/londonartmap

P.S. SOMETHING TO REMEMBER

xlviii