As 2021 comes to a close, with winter on its tail, here are some shots from spaces of places that made me stop, and stare.
Happy holiday season my loves.
As 2021 comes to a close, with winter on its tail, here are some shots from spaces of places that made me stop, and stare.
Happy holiday season my loves.
Mudchute Park is located in the heart of the eastend on the Isle of Dogs, near Island Gardens DLR station.
Walking through the park to the left from the station, cross the open field to the deep green tree end and you’ll inevitably arrive to one of the formal or less formal entry trails to the farm.
From there find a sign to the nature trail and follow it through even though it looks like a dead end.
The trail is well maintained giving adequate space for cyclists and walkers, yet not both at the same time.
Throughout the route you’ll find no sight of traffic or houses but the odd airplane on its way to City Airport.
At the end of the trail you’ll join the rolling hills of the farm and park and can treat yourself to the generous picks of the Mudchute Cafe.
For outdoorsy adventurers, hiking is a much-loved choice of activity taken close to one’s place of habitat or place of visit.
The subtle differences between hiking in different parts of the world are on the type the equipment, the style of the hike like the intensity of the walk, and the distance covered. This reveals a lot about the flora and fauna, the weather conditions expected in general and the end objective for the hike.
This article presents a short oversight of hiking in the south of the United Kingdom, and towards the end of the winter. The overall equipment relevant message is to wear comfortable waterproof boots, bring a change of cotton t-shirts, carry 1-2 litres of water, prepare lunch snacks and carry cash for group saver fares, the pub lunch option and pub celebration at the end.
I have hiked in India, the Pacific North West in the US, in Scotland, in Bali, in Italy, in the Arctic part of Norway, in Morocco, on the north coast of Trinidad and in Tobago and in Fuerteventura and every single hike was different on many aspects.
In the south of the UK, hikes tend to be longer, often including a couple of very steep climbs up hills and the same dissent. The most recent hike took me up and down Pitch Hill in Surrey Area of Outstanding Natural Beauty, twice climbed it on the same day, a near-vertical and rather muddy aspect, and over a distance of 30km round trip on foot.
Walking sticks were encouraged whereas in other parts of the world they are prohibited as it can attract lightning strikes in tundra conditions. UK’s well known cloudy skies, even in winter, require sunblock as there is still plenty of exposure doing outdoor sports to cause skin damage.
20 min stops every two hours are also encouraged to take in the views from higher viewpoints. In contrast, stopping for this long or any period of time longer to a couple of minutes, in the middle of the winter, in the northernmost part of Norway, will cause your body temperature to drop really quickly and dramatically and make the focus of the latter part of your hike an effort to warm up instead of watching the path or scenery. This can make the body feel very uncomfortable, and rather demoralising, in severe sub minus C conditions.
The photos in this post are from my hike in Surrey this week.
It looks mud messy but it was a great all round exercise. I could not recommend anything else more satisfactory to do outdoors this time of the year. Hiking engages people in community spirited discussions, recharges the body with a full-on exercise uptake, and in the UK, it is rewarded with log fires in the pub, local bitter brews, and new memories and vistas to take away.
I grew up thinking of America as this homogenically superficial space fuelled by ignorance and ultra-arrogance imposed by the sound of mad dogs and gun shots in the background. A war within itself.
In the politics and economics of the past thirty years, the trajectory of individualism is a response to the controversy of sharing all, in post anti communism, Cold War era.
This skewed anti reality brewed the covering of the reduction of basic human rights, presented as anti-terror securities to the average folk, and messed up the minds and values of many alike. This was easily absorbed by a weak societal structure in the US that without free access to health, education or meaningful work opportunities, beyond the concept of self-sale, left people scraping by for the ‘mana’. The lack of cultural references, families or friendships providing emotional support systems can not be bought by insurance companies.
In adulthood, we are all paving our way on our own but the multilayered toxicity of American neoliberalism has easily spread a virus with the language of non sense – what people can’t understand conceptually, can’t analyse and therefore are open to manipulation, misinterpretation, abhorrent expressions – they don’t even make sense to those that speak of them.
Today, this translates into the extremist mini-anti-cultures surviving by a bashing each others’ existence in perpetuation.
Jamali Maddix got a few of them covered for Vice.
Bunches of incoherent folks at each other’s throats, caricaturing a very simple and singular dimension as a version of society. We can critique the social movements for not establishing fundamental change but they are not ripping cultures apart or marginalising what holds as a resource of existence to the average folk.
For many on the outside of US, the scene is hopeless and bleak. For many on the outside, we can’t help but romantisize for a mind shift by the immense phoenix like male figures that despite the union’s level of absence in communal conscience, they have held a string light for long enough to beam their connection with and faith in humanity and in hope for a realignment of the American dream. They have the knowledge that one’s resources are equally owned and interconnected by everyone on the planet. Physical and emotional cultural references matter, the intangible connections energise the common pool.
Ultimately, isolationists are believing that by fighting everyone off to protect their patch of land, they will not end up finding out they are fighting against themselves, which they know its not only unsustainable, but plain self destructive and stupid. Sum it up in the simple lesson of the flowers and the bees.
My gratitude goes out to the two American men that know too well where the concept of the American dream really can stem from and what it could really translate into in the daily routes of American self identification. It is a work that will take a generation or two, and these men hold the tortch for the way there.
Respect to Neil Young
Respect for Bernie Sanders
Restricted images hide a story. Retelling the story by slicing away the margins is how tabloits make headlines. The most extreme, the better. It may not make sense, but the readers’ shock deters them from revisiting and unpacking the reality.
This introduction of new journalism made it into our every day lives. It trimmed the stories to polarising and accusatory as the norm.
For example, see this image in its entirety.
What information does this image contain that is useful to you? The path, the river, the people in the distance, the dog, the season. Is the dog seeking your attention by waiting on you?
Now, what story does the image below tell?
Consider your first thoughts looking at this image. Is the dog angry, about to react, or playful, is the ground cold and wet?
The second story has dramatised the narrative by removing useful information that would have told the story in all its complexity. It automatically polarised understanding by simplification. The narrative is cut short and the story is left for the viewer to interpret.
Now imagine the text defining the already minimised story.
Dog stares before it runs away, or attacks.
Greying dog lost in the winter.
By doing so we have already disassociated the image from the reality.
Next time you see a close up in the news, ask yourself, what is the purpose of such trimming and what are you missing out in terms of information.
Photography is a gift of storytelling. Butchering details, however insignificant they may appear, is a political decision made by editorial professionals serving singular story telling.
You don’t have to consume what is given and to enrich your understanding ask the questions that can better inform you.
Passiflora edulis is a fruit cultivated in subtropical Latin America.
I picked a packet in Asda, no questions asked how far it travelled to get to that corner on the Isle of Dogs. I was just too glad they looked ripe, juicy and god damn tasty.
The first question people ask is how to eat it. I recommend slicing it in half and scooping the seeds out with a tea spoon.
Passionfruit is rich in potassium. So you know it helps calm down anxiety. I call it the natural chill out scoop.
50% of the vitamins contained is vitamin C. Now in the middle of the winter, or any season for that matter, that’s a win.
Rich in fiber and carbs, it gives a nice boost to your energy.
For the avid bakers, there are plenty of recipes for tartlets, tropical Eton mess, vegan pavlovas, lemonade, yogurt and honey mixes to name a few.
The past few weeks have seen historical levels of political unwill in the US and UK.
Despite the repetitive votes in the parliament on Brexit options, across the pond, considerations over at which level the business interests of the President are conflicting with responsibilities in the public office, have been held back by senior Democrats.
Not very unlike the Labour leader’s opposition to the EU, and dislike the Tories are in the driving seat of the negotiations, with Theresa May being traditionally pro-EU – a clarity of parliamentarian’s will, is anything but a clear cut between for and anti-Brexit voices.
The confusion in UK and US is the re-divergence of the drivers behind people’s voting preferences. Traditional politics, that of the left and the right, have hegemonized to the extent of other areas of connectivity between political preferences has emerged.
Some may think the opinion Brexit will never happen and that Trump will not see through a second term, is premature today. Rightly the politics are still shedding old skin and testing new voices. Traditional far rightism may see some rise or tv coverage however in temporality, people seek new ideas, often held by the young.
Unquestionably it is a unique time in history to live and experience the shifts, twists, and stretches. Yet the presence of Extinction Rebellion and Young People’s Climate Strikes over the past few weeks have an 80’s tone, the global problems are ours and they are ignored by politicians continuing the pursuit of fast results and short term solutions. In the background, seals are dropping off to their death from cliffs in the Arctic they have not had to climb before when the ice area was 40% larger than it is today.
The tide is certainly changing, and we are running out of those in ye olde politics – inevitably will need to work together, for their own survival.
From the Contemporary Art in the Global (MSc School of Oriental and African Studies)
Artists: Derek Walcott, Mark Rothko, Frank Bowling, Atsuho Tanaka, Sammi Baloji
The project visits the theme of darkness as it is approached by the selected artists through painting, poetry, installation art and photography. Dark times have for centuries been associated with the Dark Ages, the victorian times, the plague, III Reich, and the Crusades. Is darkness created in the name of God to entice a journey in reflection?
Darkness in this exhibition will be visited through the artists’ own periods and reflections of darkness. Starting with the more recent Baloji’s photographs have a strong post-environmental sentiment, yet all artists reflect on humanity’s over-consuming framework of aimless societal misappropriations maintained by irrelevance.
The artworks date from post-war period, aligned with the more recent works of Baloji’s diptych, for the provision of a bridging point on perpetual concerns about the loss of communities, citizenship and human rights that have been exaggerated, yet feel less visual, for the absence of blood.
The art on show reflects as much today, as they did at the time of making, that we are entering an autumn of social conscience exasperated by the informality and misappropriation of technology coercing the psyches onto a temporal loss and inaction.
Yet there must be resistance. Art is also a mirror up to the society, ourselves, in hope each individual visiting this exhibition will reflect a little and make a small step of resistance that translates into a big change.
When we don’t speak, we maintain darkness. Northwest indigenous communities have talked of ‘silence’ as a skill. ‘Silence’ used in diplomacy can present a show of arrogance or absence as in demonstration against what I’d said. Against that theory, words presented hide the things that happen in silence, including their potential to tell a different story.
Bringing artworks made by Rothko, Bowling, Tanaka, Walcott, and Baloji together distinctively plays to the audience responses, being of equal therapeutic importance as they were to the artists at the time of making. The five artworks have incredible ‘enlightening’ power’, offering a quiet introspective space for soul searching.
We would like visitors to individual notice which one artwork they are drawn to on their individual experiential pattern route, free from want and free from fear.
Rothko “Silence is so accurate.”
Yellow and orange make green; green the colour signifying life, renewal, growth, fertility, harmony, nature, freshness, energy, and safety. Rothko never wanted association with any art movement however he was pigeonholed as an abstract expressionist. The simplicity of Orange and Yellow cannot go without noting the technical challenge of keeping the colours separate so they don’t produce green. Is the artist pointing out that we are in the process of exploring our spirituality, and have not reached a harmonious existence yet?
A quest for ascension, Orange and Yellow has a ritualistic quality to the universe framed within the shuttle golden Buddhist orange outline. His work has often been described for its meditative qualities whilst remaining large, and non representational.
Barney Newman, the man inspired title of Frank Bowling’s work in the exhibition, saw himself as a political artist who has also shown his work outside Rothko’s Chapel in Houston, Texas.
The painting is another major African flag colour representation Bowling is known for. Bowling is of Guyanese descent, a descendant of a slave, still surrounded by racism and race assumptions with participation in the First World Festival of Negro Arts, whilst being the first black artist elected in the Royal Academy of Arts with the artist recently receiving an OBE, continuing the colonial mode of tradition. His work was also shown at Afro Modern exhibition at Tate Liverpool in 2010’s, for significance the port of Liverpool having hosted the largest number of slave trade shipments in England.
The question is does Bowling rebel or commercialise further the idea of Africa in a place of exoticism and colonial frames? ‘Who’s afraid of Barney Newman’ was made in 1968, placed two years after the Guyanese independence from the British. Was Bowling raising awareness at a time when slave trade destinations were gaining independence from colonial rule?
Atsuko Tanaka had one said “I wanted to shatter stable beauty with my work,” highlighting how domestic objects are but beautiful and disruptive from the lack of presence, yet plethora of being.
Tanaka’s silence covered by the bulbs in the original artwork, from a position of an emerging arts movement, could have represented silence as an imposition for a projection of power. In international relations frameworks, silence is mostly imposed by psychological violence, affecting the corporal of the most vulnerable, women, people of colour and those not integrated in the functionality of post Colonialism, and neoliberalism in the global and constitute political discourses and practice. (Dingli, Bhambra and Shilliam, 2009)
Undoubtedly there is a pause in Walcott’s ‘Love after Love’ poem. Who inspired the poet to write this? Is it advice, or as I have always read this, as a love poem to oneself?
Derek Walcott passed away two years ago and his sea breeze of poetry is a timeless reminder to leave the insecurities we all carry, behind, and just be.
The meditative quality in the thought of spending time with oneself is not unlike Rothko’s iconographical ‘Orange and Yellow’.
Does it really matter who’s heart is broken or who broke whose heart? If anything, the world would become a better place if each and everyone reflected on the poem a little every day. After all, through love there’s light and the light lost in things that don’t work, is light lost.
Stylistically ethnographical, the photographer has removed the orientalism and exoticism of indigenous communities, removed the smiles and colours and yellow grey toned the landscape, to represent Congolese as the Congolese see themselves. In this diptych he has interestingly kept women seperate to men. He plays with the Primitivist Theory of the artist as an ethnographer, whilst placing it in a contemporary context.
Image from eu.art.com
Rothko’s goal was “the elimination of all obstacles between the painter and the idea, and between the idea and the observer.” Rothko was known to suffer depression, reflected by the frame as a limit to happiness. Rothko was Latvian and Russian who went to primary and high school in Portland, Oregon – the ‘weird’ US city because of its rebel inquisitive population. His work invites the viewer to explore ‘metaphysical realities of their own consciousness’. The red a reflection emotional forces fighting nature a sea of blood at sunset, framed in limitation, stopping time, a photograph. The mesmerising quality of this work, is attracting attention even for non believers. The quality of light and Rothko’s interest in creating light reflects his religious iconographic approach to his frames.
Image from https://www.wikiart.org/en/frank-bowling/who-s-afraid-of-barney-newman-1968
Bowling has expressed his frustration in an interview with Laura Barnett for the Guardian: “It seemed that everyone was expecting me to paint some kind of protest art out of postcolonial discussion. For a while I fell for it.”
The Rastafarian flag of green yellow and orange, signifying the displaced africans living in exile as a result of the slave trade. Unlike Rothko’s clearly defined frames, Bowling’s use of colours is blending into one, another around the edges and without affecting or altering the core of the three colours. Could the merging of colours also point to different ethnicities merging into one in the Caribbean and South America, as a result of colonial rule. Think of the children of Chinese, Indian, Syrian and Spanish immigrants on post-colonial lands, the ‘dougla’, the ‘koolie’, the ‘red skin spanish’.
Or did he attempt to define frayed around the edges, maybe from wear and tear?
The impact of slavery remains as unaddressed as it was in 1968 as it is today. Microaggressions are all apparent. The artist, a slave descendant, opposed the idea of representing Caribbean art.
Image from youtube https://www.youtube.com/watch?v=wUV-v3xI7Lw
Atsuho Tanaka’s electric dress, still lighting gallery spaces and discussions across the world, even after the artist’s death, in a timeless manner, originally the bulbs laid to cover her body, now exhibited without it.
In the West, a Christmas tree is something beautiful, pretty and a tacky representation of a happy time.
Tanaka was one of the more influential Gutai art movement artists, believed by many to deserve the leadership position within the rebellious post-war Japanese artist group, a but hindered from it due to her being a woman.
Tanaka’s work is symbolic to false light, untruth, prettiness by misrepresentation, a wonderful objectification of many beliefs changing and evolving in the years the work was created.
When the artist wore the artwork, around 200 light bulbs flickered every two and half minutes, like a pulsating body, inviting the viewer to view it a ‘living’ being without consideration of the being inside. Gutai translates as ‘concreteness’ born from a society that advocated for the loss of individualism.
Image from https://www.christystich.com/blog/2016/2/4/my-most-treasured-poem
Derek Walcott passed away less than two years ago, a Caribbean child of a slave, lived most of his life in Trinidad and St Lucia, and was awarded with the Nobel Prize in 1990’s.
Walcott’s poem is a reminder of being one with ourselves, salvaging ourselves with acts of faith ‘Give wine. Give Bread’ playacting Jesus proclamation of memory in the act of sharing love towards a progression towards oneself to a place where our reflection in the mirror doesn’t feel ugly or drained anymore, but celebratory.
Walcott’s exploration of European and African cultural adaptations within the Caribbean, and the multiculturality of the West Indies is reflected throughout his work. Walcott’s poem has a nostalgia about the mistake of trying to fit in other people’s shoes, and when ‘The time will come’ as in the time we will be ready or will be forced upon us to reflect in being at peace with oneself reminding us it is entirely achievable as ‘Sit. Feast on your life.’ is one of the few things in life left we have entire freedom to do on our own.
Images from #sammybaloji instagram page
Sammy Baloji is a Democratic Republic of Congo born photographer working internationally, with photographs represented in a wide range high profile african art fairs and collective exhibitions.
Born in a country known for the inherent political fragility, threat to human life, animal habitat and near extinction of species. His work is very much representing a colour code for how DRC is seen abroad and how it feels to Congolese people from within the country.
Baloji having participated in Venice Bienalle in an exhibition on Belgium’s colonial rule, he notes sharing and learning about a specific time period “To talk about our reality, and also to dream.”
In autumn 2018, I made an in-class presentation at the SOAS, University of London Faculty of Law & Social Sciences Department of Development Studies for the GLOBALISATION AND DEVELOPMENT module on the topic of the informalisation of Labour in Developing Countries.
Contrary to expectations, informal labour relations have not disappeared but have been reproduced and incorporated into globalised production circuits.
The presentation covered the main theories on the topic with a focus on the case of Sierra Leonian mining work.