It is a somewhat ambiguous entity so far, as Drift has organised events for art, music and zines, produced videos, magazines and T Shirts with artists and is even releasing vinyl in the near future. There are no plans to conform or hinder the diversity and spread of projects and there is no clear aim other than to create a space and opportunity for people seeking out collaboration and to highlight the talent in South East London.

Naturally it has developed an identifiable aesthetic and sound from the beginning because of the concentration of artists working from the same area of London. But this may change as more and more people are getting involved from further afield. Recent exhibition ‘Sleep Easy’ had participants from SE London, Latvia, Berlin, Vienna, Finland, Turkey, Canada, Sweden, and various U.S states.

Next projects to be expected are videos featuring the musicians Gus Dapperton and Gazelle and a short video highlighting the Sleep Easy exhibition shot by Reuben Bastienne-Lewis and photography by Esther Collins.
1 film
One of my favourite films, which I find really inspiring in both its approach to the format, and in the non-linear storyline, is Richard Linklater’s ’Slacker’. The way that the narrative of the film is essentially non-sequential, and non-chronological, but the film is led by a series of vignettes, which draw a broader picture that ends up covering a wide range of different subjects.

Slacker by Richard Linklater

2 musician/producer
Stones Throw Records’ roster of artists and producers has always interested me; the diversity of the artists themselves reflects a lot of my own attitudes towards music. Specifically one producer who stands out to me is Mndsgn, the line between electronic and analog is something which I find really interesting, and his music makes an interesting comment on that divide, through his use of instrumentation, production and even in the format of his output, using vinyl as well as virtual platforms like Bandcamp.

Mndsgn – Camelblues

3 video game
The video game ‘Hotline Miami’ is really inspiring to me; the storyline is (similarly to ’Slacker’) not entirely linear and uses multiple framing devices, which work really well in connection with the text-based dialogue which progress the storyline itself. As well as this, the soundtrack is a driving force in the game, with the framing devices actually having an affect on the music itself; with some of the tracks replaying over at the game’s natural interval, and others only appearing once or twice. I think the game on the whole, was a really unique experience, especially as it was made with a very small development team on board.

4 artist
Michael DeForge is a Canadian illustrator and comic book artist, whose work I find really interesting, both in his clean-cut style of drawing, and in the kinds of topics he deals with in his graphic novels, which can range from philosophical questions, to more grounded comments on fitting into the current climate in the world.

Michael DeForge, First Year Healthy

5 book
Haruki Murakami is an author who is hugely inspiring, when I was younger I read a lot, and it has taken me a while now I’m a bit older to find books and authors that suit me more. But finding Murakami, and reading his series of short stories in ‘The Elephant Vanishes’, has given me a drive to read more of his books, as well as other books in turn. The short length, which is the nature of the stories in this book, was a big proponent for me to start reading again. Many of his stories feature a listless sense of ennui in his characters, as well as a lot surreal situations and Dadaist lines of thinking, with a slight step in the direction of being fantasy, without becoming completely unreal. Completing this profile has actually made me see a theme in the kind of features I find interesting in any piece of creativity, regardless of the format it takes.

Haruki Murakami, The Elephant Vanishes

Publications by South East Drift will feature at the Istanbul Zine Fest, April 22- 24th.

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For more recommendations on what to read, watch or listen to, go here.

Joanne Dawson is a final year student of the BA(hons) Painting and Printmaking course at The Glasgow School of Art, graduating from the School of Fine Art a year after the fire of the Mackintosh Building. She is currently working up to the 2015 Degree Show using a variety of video, sculpture, screen-print and installation. She tells us more about what this year’s graduating Painting & Printmaking students have planned.

47 graduates from the Glasgow School of Art Painting and Printmaking course will exhibit their work in London at the Old Truman Brewery on Brick Lane on the 2 – 6 July, as part of The Free Range Show. With the destruction of the Mackintosh Building, we lost a valuable platform for showcasing the culmination of four years hard work. We were in third year during the fire, so our work was not personally damaged, but we worked very closely with graduate students during that time, and we know how much it affected them along with the following repercussion that impacted ourselves in our final year. ALL YOU CAN EAT is the perfect opportunity for us to take our work beyond Glasgow and to exhibit to a wide new audience in a location central to London’s art scene.

Image of Rosie Swan by Ewan McCaffrey

Image of Nathan Cook by Ewan McCaffrey

ALL YOU CAN EAT is more than a painting show. We are an eclectic group and we will be running community workshops, performances, poetry readings and other events throughout the week in London. There is very little restriction on what will come out of the show, however we want to project how strong we have all been as a year together. We initiated this project entirely off our own back, and have been fundraising ourselves over the past year. With huge support and with much gratitude, our Kickstarter raised £3000 in just over a week (here is a link with a video by Gary Zhang). £3,000 is only half of the full cost. If we do not reach our target the show must and will go on. The cogs for potential resolutions to a lack of funding are already in motion. We are trying to supplement our funding through other avenues, writing proposals to different arts charities, throwing club nights, events, and bake sales.

After the funding is fully realised our largest challenge will be safely delivering, curating and installing the best possible show. The event, in the Old Truman Brewery in London, takes place between 2 – 6 July, a fortnight after the official Fine Art degree show in Glasgow will be held in Tontine House, off Trongate Cross in Merchant City from 13 – 20 June. The building surrounds a public art project of Douglas Gordon – his EMPIRE sign.

Image of Jude Hagan by Ewan McCaffrey

Image of Lewis Prosser by Ewan McCaffrey

Image of Jessie Whiteley by Ewan McCaffrey

You can follow our Instagram account here @gsa_painting with regular updates throughout our degree show and lead up to ALL YOU CAN EAT Graduate show. Preview students’ work on The Free Range Portfolio site here. Information will also be posted on The Glasgow School of Art’s website about our upcoming Fine Art Degree Show in the new Tontine Building.

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Since graduating we have been living and working together, converting our living room into a shared studio. This has given us the opportunity to collectively deal and converse about the issues of post-university life. Whilst doing so we thought that creating a more formal framework would allow us to address these common concerns in a more productive manner.

We aspired to make a space outside of the university, for conversations about current concerns with our practice, situation and the systems that follow after university- life as a practicing artist. Our main concern was that there was no environment to talk about work, and with people who are interested and engaged in a similar dialogue. We found that private views and exhibitions had become merely a social space where nobody would take the time to talk about the work in front of them, let alone their own practice. We were unhappy with the state of passivity that was now surrounding us and wanted to create a space where criticality and practice could exist.

From these concerns we decided that we needed to create the space and situation to talk about such problems and therefore try and resolve them. By running crits, reading groups and discussions we hoped to house some of these concerns and allow for a critical exchange between practicing artists.

We also found that one of our main drives for making work post university was for deadlines, exhibitions, residencies etc and we were no longer focused on experimentation and the development of our practice but with having finished, concise and chiseled portfolios that we could send off to varying opportunities in the free time we have outside of our payed jobs. With this in mind, we set up 3OWORKS3ODAYS (where artists would sign up and submit a work everyday for the month of April, the project concludes with a publication about the process of the project and notions of artistic production). The main objective for this project was to allow space for experimentation and mistakes; we wanted to cut out the rhetoric of competition by not having a selection process and thus exclude the drive to make the ‘best work’. The only rule was that you had to submit one work each day, in any medium or form, thus putting the responsibility on the artist, not the curator. To develop their own practices, decisions and criteria for what they consider a work, to commit to giving themselves the time each day to dedicate to their work and practice.

Once 30WORKS30DAYS concludes we are aiming to continue to launch projects with similar intentions, in relation to productivity, criticality and practice. These will take various forms from residencies to alternative forms of exhibition and publications. We are also open to collaboration, if anybody would like to get in touch please contact us on info@12ocollective.com.

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See more art & design collectives we’ve featured on the site. Think we should feature your collective? Get in touch.

Self Portrait

When I was 12, I took part in my first exhibition. By 14 I had sold several drawings and paintings. When my friends played football, I drew them and designed their football kits. When I was in a band, I just wanted to make the record sleeves.

I think the reason I’ve began here with my memoirs, is that on reflection being an illustrator has always been on the cards for me. After a few years of flunking out of University first time round and working in a call centre, I finally went to Art School and graduated in 2013.

After living and working in London for a year, I’ve now based my studio in Edinburgh.

My Studio

London can be a great place, but I found myself looking for jobs cleaning or teaching as opposed to concentrating on illustration. It’s an expensive city just to be. Moving to Edinburgh has made me realise that I can make money from illustration now that I’m fully committed to it. I don’t need to subsidise the horrific cost of rent with a part-time job, and subsequently I’ve stopped feeling pressured, I’m enjoying it, and I think my work now shows that.

When speaking about “influences,” it’s hard to nail them down. I think my personal work is a process of reflection. Doodles and thoughts in sketchbooks, looking into the window of the computer monitor at our contemporary landscape of incessant web banners and slogans vying for attention, pop culture’s terminal conveyor belt and the grip of social media. All things associated with modern life’s visual overload and us. I also studied a lot of politics when I was at school, so I like to keep engaged and take references from there if I can.

Life, Death and Prizes

Commissioned work feeds from this, but obviously depending on the job and the client’s needs, it’s not always appropriate or necessary. A recent job for MTV, where I was commissioned to do a wall mural in their Camden offices, was a great example of this. They liked my Street/Pop Art style, which I had developed through my personal projects, but worked with them to create imagery that was appropriate for their needs and the space.

MTV Wall Mural

I think a lot of illustration now is this early 90s, saccharine coated, fluorescent shapes imagery that tends to be more style over substance. That’s absolutely fine, but I like to try and say something about the world in my work. My ongoing collaboration called Mad Quills, where I work with a very talented writer and poet, is a great example.

Facsimile

We’re working together to make a book as well as put on an exhibition soon. Other future projects I have lined up are a few more group shows in London and Glasgow come the spring. But, at the moment I’m working with Warner Music to create T-Shirt designs for Ed Sheeran’s next tour.

Personal projects include finally finishing my illustrated kids book and no doubt playing with iconography, as I expand my illustration print shop.

Jesus Loves Frisbee

In illustration, if you don’t have work, you’re working to get work and I’m looking forward to seeing what it looks like.

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Artist profiles delve into the psyche of the artist talking about daily life, inspiration & art. Read more profiles here. 

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Jae ho Hwang is a South Korean graphic moving image designer and artist based in London. Here he tells us about his creative process.

I have been working in collaboration with London based music producer Kirk Spencer since we met over a burger sometime last summer. Originally from South Korea, I came to London to complete a master in graphic moving image but stayed because I fell in love with London and, more importantly, the communities I became involved with here. Kirk and I bonded over mutual visual influences – Gaspar Noé, Norman Mclaren, Oskar Fischinger and 1960s music visuals. However, most importantly, we shared a passion for creating immersive audience experiences through performance.

When we first met to discuss how we could collaborate it was over a cheap fry up. Kirk already had a huge oeuvre of tracks to start working from but what I’m trying to emphasise through these meal anecdotes is the importance of face–to–face interaction in our creative process. Behind the scenes, Kirk will usually send over a track and I’ll stay up late listening to it endlessly and sketching out different idea for visuals, but the most important part is how the two parts work together; how one can shape the other and vice versa. It’s really important that we both understand each other part and how they create an experience for the audience. We’ve performed together at several venues across London now and each time we understand more about the audience and the effect of the music with the visuals together.

Work in Progress – Jae ho Hwang

Whilst our main form of collaboration is through the performances, to celebrate the launch of Kirk’s new EP “Kingdom”, we decided to create this series of shorts that are ideal for sharing on platforms such as Instagram and Facebook. In conjunction to our exploration into the shared experience, we have considered the private experience of interpreting music and namely music videos. We are hyper aware of the way these platforms have affected a generation’s attitude towards digesting information. For example, from my experience, when surfing on websites or clicking through articles on social media, I have developed an intensely short attention span online – I’m conscious that there is always an endless option to scroll.

By creating short clips, 10 to 15 seconds long, we wanted to reinterpret the music video. We wanted to capture and communicate the essence of the track quickly and allude to something bigger. On social media, 10 or 15 seconds can be long enough to deliver and share a message with people. These days, people tend to pick up information very quickly and not to stay on one thing for a long time.

The visual accompaniment contains five tracks from the new EP: Primrose, And Swim, Magic Carpet, Human and Blue Skys. In each video, I have attempted to create and build the relationships between music and visual in a different style for each track and make sure that they work in perfect synergy.

Watch excerpts from all five tracks here:

Kingdom by Jae ho Hwang and Kirk Spencer

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Jenny Judova is founder of Art Map London, an art event listings website for the capital that is here to revolutionise the London art scene. What started as a small venture in late 2013 has now been outstripped by demand. Judova decided to launch a Kickstarter to fund a newly developed website. Fully-funded and a staff-pick after only a week on Kickstarter, it’s clear there is a need to make private views and events more accessible. Here, she takes some time to talk to us about Art Map London…

Can you tell us a bit about your background?

I am an alumna of Glasgow University, I did both my undergraduate and postgraduate degrees there. The undergraduate degree was a joint honours in History of Art and Theology and Religious studies, and the postgraduate degree was a 12 month research into the representation of the Devil in the Queen Mary psalter, an early 14th century English manuscript. So something centuries away from contemporary art, but I think my affection for monsters and imps does shine through.

Founder Jenny Judova with ’Astro Monkey’ by Adam Slatter. Acrylic on canvas.

What is Art Map London?

Art Map London is an art event listings website for London. We list everything from private views to screenings to talks as long as they are open to the general public, and it is events based, so we do not list exhibitions. In other words, if you are searching for art and a free drink, Art Map London will tell you where to find them.

How did you come up with the idea for the project?

It was Glasgow inspired. Glasgow has a very strong private view culture, if you are studying art (especially if you are at GSA) you go to art openings. Third year private views just became my monthly routine and when I moved to London I spent weeks trying to find a private view listing website, or zine, or blog or whatever, but there was nothing. There are loads of maps that would show the locations of galleries and there are tons of generic exhibition listing websites. So after a month of not going to art events, I realised that if I want to keep my habits I have to create a listing website – and I did.

Currently, you’re looking to expand the website with a photo diary and a gallery directory. What is your long-term vision for the site?

I do see Art Map becoming the one-stop shop for all art events in London, and all gallery information. The long term vision is to use Art Map to demystify galleries and private views – to empower people who ‘don’t know anything about art’ to go to galleries and to be confident to look at art, judge it, and collect it.

What makes the London art scene stand out from other cities?

Diversity. Glasgow is new and experimental; New York is trendy and cool and polished, Paris is old fashioned and institutional, London is diverse. In London, you can find anything from the outrageously experimental exhibitions to the stick up your arse polite ones. You have galleries and curators who are all about research, and those who are all about slamming art on the wall and making money. In London, you can find something for any taste and any pocket.

Do you think there are any misconceptions about the accessibility of private views and gallery openings?

Yes, and that is one of the reasons why I started Art Map – to fight against those ridiculous assumptions and to empower people to judge art, because even if you do not have an arts degree, you are still entitled to have an opinion on whether you like the art work or you don’t. There are a number of ridiculous misconceptions, the two most widespread are: that you have to be invited or on ‘the guest list’ to come to a private view, which is rarely the case. And the second is that you will be questioned about art – which never happens, if anything a private view is the place where art is used as a conversation starter rather than the subject.

Monster Private View – Lara Thomson

You’ve teamed up with several artists to provide art rewards to your backers, can you tell us more about how you came to work with them and how you settled on the theme of ‘monster’?

From the start I wanted to work with artists, Art Map is about exploring the London art scene, especially the emerging art scene. So it made perfect sense to approach artists to have their work as awards rather than generic merchandise with the Art Map logo. I never really picked a theme for the Kickstarter I just wanted to work with artists whose art I admired, and whose work I would want to collect. That is actually how I met Cassandra Yap – I bought one of her prints. I came across Benjamin Bridges and Guy Haddon Grant when procrastinating online. Ben introduced me to Lara Thomson, and I fell in love with her monsters. I met Garry Russell in a bizarre way – a friend bumped into him in Selfridges – and the rest is history, and Adam Slatter was introduced to me by Garry.

I was very fortunate that all the artists agreed to take part in my campaign and gave me their existing works. Everyone apart from Lara, she created the Monster Private View print for the Kickstarter campaign. The Monster Private View is a detailed study of characters you meet at art events, and I like to think that the little guy with the map is me. The print is available for 50, and a limited number of prints will be available for only 25 via the Kickstarter. I believe that a collection speaks a lot about the collector, so in the case of the Kickstarter; the theme monster was not chosen I just happen to like monsters.

Kickstarter artists clockwise from the top: Adam Slatter, Guy Haddon Grant, Gary Russell, Lara Thomson and Art Map London founder, Jenny Judova.

Why did you choose to use crowd funding for this project?

Art Map is for everyone, not just for specialist public, and it made sense to crowd fund the project to check if the public actually wanted and needed it. Out of all the confounding platforms, I chose Kickstarter because I am most familiar with it – I’ve used it for a few years now.

What place do you think crowd funding has in the art world?

Unfortunately very little.

I find it a bit tragic that Kickstarter actually started out with an ambition to help artists and culture projects, but now it is best known for tech projects. Tech and digital campaigns are also more successful in gaining funding than art projects. Usually because they are better at researching how to create a successful campaign, and they are better at promoting it. One of the things that the panel discussion ‘Art projects on Kickstarter’, which I held, brought to light is that promotion is often key to success and should become a full time job if you want to get the funds. And now speaking from experience, I can confirm that it is true. The hardest work begins the second you launch your Kickstarter – I spent the last week chained to the computer and that is why Art Map is 92% funded in a week!

Art Map London Kickstarter Video

What advice would you give to young creatives and artists who are thinking of organising a crowd funding campaign?

Research. Research the platform, talk to people who went through it, do not jump into it, leave at least a month for preparation. I’ve seen great projects fail just because their founders did not bother to spend time on preparation and research and expected the Kickstarter community to throw money at them. And I’ve seen the most idiotic ideas funded because their project leaders were smart with awards and pledges, took full advantage of the video, and were good at promoting the campaign.

Crowdfunding is great, but it is definitely not a lazy man’s/woman’s alternative to government funding.

Art Map London is live on Kickstarter until 3 July. Having reached its funding goal, the project will continue to collect funds until its closing date. See how the campaign is doing here. Learn more about the artists involved in the special exhibition catalogue below:

Read more about the artists whose work is featured in the Art Map London Kickstarter campaign.

Photos courtesy of Jenny Judova. Q&A by Madeleine Schmoll.

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ArtMaps is an interactive initiative by Tate to locate their artworks on a map. With a collection of over 70,000 works, they’ve enlisted the public to help find locations all over the world. Some of the 23,000 works tagged so far feature precise locations while others exist only in myths. Tate will soon be running challenges around particular artists and areas. In the meantime, the map can also be used to find works of art by a specific artist or by city.

To get started, check out the ArtMaps website.

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Herman Kolgen is an internationally renowned, multifaceted artist, who has been modelling sumptuous ‘audiocinetic’ performances for over twenty years. The Montréal-based sight and sound virtuoso, continually hatches new conceptual approaches to celebrate the powerful synergy (and intimacy) at the heart of his audiovisual works. Constantly exploring, Kolgen works at the junctures of different media, as well as elaborating a new technical language and distinctive aesthetic. Kolgen’s works take the forms of installations, video, performances and sound sculptures. He has performed at prestigious international events such as Berlin’s Transmediale, the Venice Biennale, Austria’s Ars Electronica, Elektra and Mutek.

He tells us about where he makes:

During the last 7 years, I’ve been living in an old factory near an incinerator (converted into a recycling center) and a railway. It’s a refurbished space, in an up and coming area that serves me both a place to live and work and is not far from downtown Montréal. Situated near the metro, bike lanes, shops and markets, the area is both quiet and lively.

The physical and practical organisation of my creative space revolves around my different work mediums and interests. In this way, I can go from the sound studio to the digital image studio, from the painting workshop to the little film studio, and from the carpentry and metal workshop to the little electronic lab.

Throughout my working days, I fluctuate from one pole to another, constantly using these additional resources. I test and renew my point of view, my perceptions and I find new options, new approaches and creative responses. It’s a dynamic way to reach my goals while combining development phases, tight deadlines and international tours.

The workshop:

The Storyboards:

The Studio:

All images courtesy of Herman Kolgen.

To see more of Herman Kolgen’s work, don’t miss Herman Kolgen: Inject & Dust as part of Alpha-ville LIVE at Kings Place, London on 18 May. You can book tickets online here or read more about the event in our feature here.

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‘Where I Make’ invites readers behind the scenes of artists from many disciplines to share photographs and a little insight about where they create their masterpieces. See more from the series here.

Gasworks is unique amongst London’s contemporary visual arts organisations in combining artists’ studios, international artists’ residencies, exhibitions and a community participation programme.

Established in 1994 in Vauxhall, south London, Gasworks has built a reputation for discovering and introducing new international and British talent. More than 300 artists from over 70 countries around the world have taken part in Gasworks’ programmes. Alumni include Turner Prize nominees Lynette Yiadom-Boakye, Goshka Macuga, Marvin Gaye Chetwynd and The Otolith Group; as well as other internationally renowned and award winning artists such as Yinka Shonibare, Tania Bruguera, Matthew Darbyshire, Cinthia Marselle, Subodh Ghupta and Renata Lucas.

Gasworks is also the hub of the Triangle Network, a network of thirty grass-roots arts organisations from across the world. Triangle creates unparalleled links and develops projects with artists and arts organisations in Bangladesh, India, Kenya, South Africa, Lebanon, Brazil and Colombia amongst others.

Gasworks is currently undergoing a period of transformation as it fundraises for a £2 million capital project to purchase and refurbish its current building. This exciting campaign, supported by a £1 million pledge from Arts Council England, will secure the future of the organisation and upgrade the quality of the spaces provided to artists and the public.

Gasworks Building Project will:

• Double the size of the current gallery space
• Add two more studios for London-based artists
• Create a bigger and brighter participation and events’ space
• Construct a new kitchen and terrace to encourage further interaction between artists
• Make Gasworks’ building greener, reducing energy consumption by 50%.

Building work is scheduled to begin at the end of 2014 and Gasworks’ new building will re-open in 2015. More information on the Building Project can be found here.

In the meantime, Gasworks’ world-class programme of exhibitions, residencies and participation projects continues.

Currently on show in the gallery space is the solo exhibition Mouthfeel by Maryam Jafri. Comprising the newly commissioned short film of the same name and a new photo-text work entitled Product Recall: An Index of Innovation (both 2014), the exhibition explores the politics underpinning the industrial production of food, connecting themes as diverse as “big food”, flavour enhancement technology and overconsumption. The exhibition is accompanied by a series of events, and continues until 18 May 2014.

Mouthfeel is the third exhibition of The Civilising Process, a yearlong programme of exhibitions and events at Gasworks inspired by German sociologist Norbert Elias’ eponymous 1939 book, which looks at the development of the tastes, manners and sensibilities of Western Europeans since the Middle Ages.

As part of Gasworks’ Residencies’ programme, four international artists Joon Kim (Korea), Wilhelm Klotzek (Germany), Christina Kral (Germany) and Luisa Ungar (Colombia) will spend three months at Gasworks, their time in London culminating in an Open Studio Weekend on 27 and 28 June. Find out more about the artists here.

Gasworks is located at 155 Vauxhall Street, London SE11 5RH.

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On 18 May, Montreal based visual artist Herman Kolgen will present two audiovisual pieces for Alpha-ville LIVE at Kings Place in a London premiere. In the prize-winning Inject, a body is injected in a cistern over the course of forty-five minutes. Kolgen writes “The pressure of the liquid exerts upon him multiple neurosensorial transformations. From his epidermal fiber to his nervous system, he reacts to influxes of viscosity in this liquid chamber.”

Inject by Herman Kolgen

Dust by Herman Kolgen

In Dust, Kolgen is inspired by Elevage de Poussiere, the 1920s photograph from Man Ray which documents dust over work by friend and contemporary, Marcel Duchamp. Kolgen explores changes in the state of the matter: “At the edge of the imperceptible, pigments are suspended around a magnetic field, random fibrous networks take shape and then form composite objects, hypnotic in their complexity. Sound particles paired with luminous aggregates exist on a scale that cancels out all points of reference.”

Alpha-ville LIVE – Herman Kolgen: Inject & Dust teaser trailer

Herman Kolgen: Inject & Dust is a part of Alpha-ville LIVE at Kings Place on 18 May. To learn more see the Alpha-ville website and book tickets here.

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