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Like Erno Goldfinger but I've painted the ladies in silver enamel paint.
Somewhere to put the things that I can't put anywhere else.
"So what do you do in your studio?" people ask all the time (OK, maybe two people have asked). Stuff like this is the answer. It's on show at the moment at Transition and Fosterart (you can find the links yourselves) but also reviewed on the BBC website (see I put a link in for that).
Friday night I got the tube from Whitechapel over to Sloane Square and walked down to the river. I stopped to take a few pictures. From there it was pretty much downhill as I got very drunk (but had a very nice time) with a few of my work colleagues at the BIMA Awards. Between 1997 and 2001 I used to go to loads of these things and they were insane. I hadn't been to anything like this for a while and it was all very low key and subdued. Personally I liked the madness of early nu media UK and the sheer unsustainability of the whole thing. Now it's like an industry do for bankers but without the ostentatious display of wealth. I still wear a black suit and tie as I don't have a "black tie" outfit (if you see what I mean). At least I don't wear brown shoes with it like I used to.
Q: How hard is it to find classy Christmas presents for the man in your life who already has everything?.
A: Not easy is it girls. Or so you thought.
Ask yourself "Does he have a set of girlie playing cards with all the interesting bits painted out?". If the answer is "No" then you owe it to him (and to yourself) to pop along to Acid Drops and Sugar Candy in Shoreditch and Hackney. Until 18 December.
Went to see a preview of Jarhead which is based on the book about Anthony Swofford's experience of the first Iraqi war. It's very very good and succeeds in doing all the macho war stuff in a frightening but very human way: there's a scene when the Marines are waiting in the desert for the war to start and have taken to watching various Vietnam war films. During the helicopter attack in Apocalypse Now they all go apeshit singing and screaming along to Wagner. In the background you can see the film projected and the gooks getting the crap blown out of them. While this is a deeply disturbing scene you can completely identify with what's going on.
The main reason I thought the film was better than the book was that so much of the story: basic training and Desert Shield was about boredom and repetition and while the film captures this in a rich visual way, the writing only captures this by being boring itself.
The desert is empty except for sky and sand with almost no sign on the enemy. This captures both the overwhelming technological superiority of the US forces in their ability to engage the enemy from a great distance and the sense that of this being an empty war about rhetoric and perceived rather than real threats. The film is beautifully edited by Walter Murch and shot Roger Deakins.
Well the thing has been done now. 'Bout 60 people came through my studio on the Open Studio weekend (I like to capitalise the O and S in 'Open Studio', it give it gravitas) and a few people seemed to like what I'm up to. I'll post some pictures of the studio when I get a chance. In the meantime here's White Skull, a particular favourite with the gothic visitors.