LOCKDOWN. (02.04.2020)

PWB: It would be really interesting to hear how / if the current situation of isolation has affected your thinking re. the collection? Now that its currently harder to buy / sell, and you’re in ‘close quarters’ with all the pieces more. (It’s been making me think about what could ‘go’, but more about what I really love.)

GB: Yes, you raise many interesting questions there.

As devastating as it is, this unique period has allowed us all time to reflect, appreciate, prioritise and slow down.

I’m always out, I love the chase, the fairs and the social interaction, but all this does seriously impinge on my work as a maker.

Chairs, design, prints, sculpture etc. do not seem that important at the moment, whilst I am focused on my Collection of family and friends.

However, I am very fickle with a short memory, and know as soon as some form of normality returns I will be back out there in a flash.

Owning every print, poster, plaster by Paolozzi or a chair by all the great designers now seems pathetic and a mental health disorder. Especially as the vast majority are in storage and I never see them.

As the World needed a break from pollution, the Human condition needed a break from chasing cash as the prime motivator. Hopefully those that do survive this, will emerge regenerated, enriched and enhanced.

Now you have me thinking I just want to write something about Books and the future, this unique period is a game changer in every respect.

PWB: I really like these new pieces you’ve been making during the current lockdown Graeme. Slight shades of Willsher on this one.

GB: Yes I am fully aware of the influence, I have reconstructed and deconstructed his work so often mentally it has become part of my own understanding of form and negative space.

The ‘flat’ constructions are actually more like his, where I’m using the single plywood sheet exploding and animating it by transposing the orientation of jigsaw cut outs, so 99 percent of material is used with spacial interventions competing for dominance. Whilst they have a completely different aesthetic, they share the concept of radically animating and exploding a simple form, a block in his case and a flat surface in mine.

PWB: this one is lovely – do you plan to exhibit these pieces?

GB: I work them all out by cutting a piece of card or paper and I’m just enjoying the making and thinking at the moment but have already prepared materials to supersize them.
I may think about exhibiting later in the year, but I’m still recovering from the intensive six month Beuys / Prison show.

PWB: It would be really interesting to hear a bit more about the Prison show and a bit about your history there if possible? Also it would be great to feature a few of the recent ‘lockdown intervention’ pieces in the piece if that’s OK?

GB: Absolutely, whatever you think would enrich the piece.
When you commented about the ‘Trophy Hunter’ title, I knew instantly you fully understood the concept and similarity between collecting rejected wood from prison skips and collecting at the fairs.

I AM THE COYOTE.

GB: To cut a long story short, my main claim to ‘success’ in the Art world is revolutionising the way Art is taught in modern Prisons.

I arrived in 1999 as a reasonably successful painter and sculptor into an already good and large art department, but soon after we employed two other practising artists and together we delivered experimental Art School teaching to this unique cohort of students.

GB: This became more radical over my tenure and we ended up with a team of seven practising artist/Tutors and our students representing England and Scotland in two Venice Biennales with Jeremy Deller (2014) and Richard Demarco (2018).

My ethos was to treat the 30 full time art students in a massive Studio as a sustainable behavioural experiment, like one big ‘Social Sculpture’.

The only time this kind of approach has been attempted before was at HMP Barlinnie in the mid seventies called the ‘Special Unit’ where the most serious and persistent criminals were exposed to Fine Art teaching to attempt to alter negative divisive behaviours. The most well known student was Jimmy Boyle.

Simultaneously Joseph Beuys has just completed his most famous ‘Coyote’ work in New York’s Rene Block gallery (documented and assisted by his partner Caroline Tisdall)

The following week Beuys came over to Edinburgh after an invite from Richard Demarco and they ended up visiting the ‘Special Unit’ where Boyle famously told Beuys on first meeting “Joseph I am the Coyote”.

He stayed and did a couple of performances and the whole period was documented and made into two feature films ‘ A Sense of Freedom’ and ‘Silent Scream’ (in ‘79 and 1990 respectively) by my friend Artist and ex professor Bill Beech.

So as we are the only true contemporary version of what was tested in the Special Unit we brought everyone back together.

We had all Caroline’s Original ‘Coyote’ and other photographs and made a great new film with her explaining the whole concept.

Richard showed his Beuys and other experimental and progressive archive material, and we had Jimmy showing all his original stone carvings.

This was all brought up to date with our GRAFT Studio showing contemporary work.

It was a large show and massive undertaking for Bill and myself to curate, however we have now cemented this small but important part of Art History and experimental education.

Richard – who is now 90, and his assistants visited our studio to complete the historical cycle and stayed with us for a few days.

PWB: Thank you for sending this, it really is very impressive (and important!)

GB: Cheers, I wanted to contextualise as it is the most important experiment using Art as a vehicle for holistic Rehabilitation, begun by Beuys and made sustainable by our Studio, yet it is on the very fringes of Fine Art and something which few artists and creatives know anything about, or it’s proven power as a catalyst for behavioural change.

POST MODERN OVERLOAD.

GB: The vinyl photos I was thinking of from ten years ago were on film and not great, so I’ve spent 2 hours delving into deep storage and retrieved a couple of hundred albums and some singles.

I am going re shoot tomorrow morning with them around my bedroom.

It seems appropriate as I always get my own best ideas just before falling asleep, plus I sleep on a Ron Arad Kee-Clamp bed, which came from Tom Watkins who is my closest tenuous link to Music!

I’ll send them in the morning.

This project is good therapy, without it the albums would have remained in boxes until I was in one!

GB: Sadly I saw that Watkins died just two weeks ago, he originally designed for Conran before entering music, I liked the way he over collected, all Bauhaus rammed in, then later all Memphis and Creative Salvage – Post Modern overload, exactly what I do… love the items to death by removing their personal space!

I bought the bed about 7 years ago and kept it in Kee Klamp kit form underneath our old bed!

We put it back together about 18 months ago which was trickier then anticipated, but found the auction listing photograph as a plan. I know it sounds Kitsch but I like the idea of recreating a teenagers bedroom/ punk environment from where many of these creative or anti social behaviours were formulated through looking and listening to idols

PWB: I like the bedroom concept a lot, and would love to include this on the site. I was born ‘72 so by 79/80 – towards the tail end of the UK’s 1st wave of skateboarding – was ready for BMX / Electro, and into the Hip Hop / Graffiti era.. but a tad too late for Punk. That said the subcultures that have moved me all rely on a similar DIY attitude just in subsequent decades.

GB: I was born ‘65 and fully immersed in Skateboarding culture riding for Scarborough Skates who were part sponsored by Sims and Benjyboards. I kept a lot of my original gear but buying them all and more again during recent years was like one big reunion of men that can’t let go !

THE POWER OF BOOKS.

GB: Whilst studying Art I became so passionate and enthused and by the subject that I began collecting second hand books around the junk shops in Birmingham.

Thirty five years later this indulgence continues with the same vigour, verve and dedication some period and many new.

I fully realise that they are mostly a poor financial investment, as without my guidance this collection would be sold and disseminated at auction for a fraction of the cost price.

During this restricted lockdown I am finding more time to absorb the content of the collection, which is something I thought would never happen to this same rewarding degree.

I very rarely sell a book, unless a double, so realise the money is permanently gone, in an attempt to add psychological and intellectual value, aesthetic enlightenment and pleasure.

I have a broad interest in Historical and Contemporary arts, photography, architecture, design, antiques and graphics and the collection underpins and informs all of my diverse activities.

The emotional enjoyment and education a physical book can induce is a very special quality which has brought all the world’s most progressive innovators into my home,  accessible at arms reach.

I doubt I could afford to buy a case of my own collection at once, but I can afford to purchase a book most days, which epitomises my little and often strategy.

I appreciate that much reading and art appreciation is now online, though I am pleased to see the resurgence of the physical book that offers an intimate and multi sensory diverse handling absorption.

Visitors are often surprised to see a number of books on my shelves still in cellophane or card/paper wrapping, which to them seems understandably ridiculous, irrational and wasteful.

These shrouded objects are actually an antidote to depression or boredom. I often masochistically delay the anticipated high from opening a book to self medicate.

I have had issues with drinking too much at various times during my life and discovered it is much better to find solace by unwrapping a packaged book then opening bottled alcohol.

A couple of years ago I recall visiting my great friend and mentor Mike Goldmark who has the largest collection of World Art on paper in the UK.

He began as an antiquarian book seller and now runs the fantastic and hospitable Goldmark Gallery in Uppingham.

We have organically developed a very pleasant habit of giving each other a book when meeting.

He often remarks ‘I have something to show you’, then wanders off and returns with a print, sculpture or something special I have not seen or been aware of before.

On this occasion, he offered me an unassuming small period brown volume, which read Los Caprichos by Goya a volume of 80 etchings and aquatints from 1797.

The first six books were hand printed by Goya himself and this was one of the six, known by a flaw in one etching which was later rectified.

I know Goya well and have always rated him as the first authentic contemporary artist.

I have seen his work many times in galleries behind glass and already own about 10 books about him

I am an Atheist and hence not at all spiritual, however as I looked at the first etching the drawn lines seemed three dimensional and ‘alive‘ as I continued to study I felt not just the hairs on my neck stand up, but a kind of electric charge run through my body, which had never happened before, it was like I was under the influence or seeing for the first time.

The images are disturbing and chart the follies and degradation of the human condition, but it was the quality of craftsmanship and materials I was entranced by.

I felt strangely disoriented, but spent another hour looking, then thought about it for the whole of my two hour journey home, which passed like 10 minutes.

As soon as I got back I ordered a modern copy from Amazon.

How disappointed I was on arrival, it was like looking at a shiny comic online, with zero rush and impact.

For that transcendental moment Mike allowed me to hold and handle an item of the highest quality, made by probably the greatest artist to have ever lived, instigating the most visceral portal to ‘Real Art’ I had ever experienced, as close to Goya as it gets.

BRIAN & EDUARDO.

GB: I have collected a number of Artists and Designers in multiple and usually after about 5 or 6 good examples I can redirect focus, however Brian Willsher Sculptures became a dominant interest verging on a serious obsession.

I was late appreciating Willsher and initially naively underestimated them and would often watch them slip through the Modern Design sale rooms without even making a bid.

I bought my first ones on eBay very reasonably, then shortly afterwards a set of six small wall plaques, all dedicated with Christmas messages on the reverse.

On arrival I immediately realised what I had been missing, so others soon followed.

I began researching his incredible story and became intrigued by his Sculptural thinking.

To take a solid block and retain 98% of its mass, cutting and pushing elements apart to add energy, vitality and dynamism by inviting space to swap places with material with such a powerful imagination makes the notion and debate about ‘the first hole in sculpture’ seem so prosaic.

I saw an opportunity, and began a serious pursuit, I was discerning and particularly interested in the rare Titled exhibition pieces, but still bought the more formulaic examples whenever available.

I love the whole story about the accident, convalescent creativity with plaster (which becomes important later) the wood, the court case, the market stalls, and even how his premature death could have been caused by decades of inhaling sawdust from in between his released forms.

Surprisingly around this time I was at Kempton Racecourse every fortnight but only ever bought three or four from there.

I did acquire a few very reasonably, however after sharing my passion and knowledge with other dealers they would often return within weeks with a good example full of glee, bought for a tenner from a local car boot sale!

I was happy spending low to mid hundreds for good examples and did so regularly, but had never managed to buy one out of context.

I was fully tuned in, laser locked, and knowledge abundant but could not get one that had gone un-recognised at source.

Then late into collecting I had the best Rush I can ever recall. I realise this sounds like the classic dealer’s story, but it is these events and episodes which get us out of bed in the early hours driving hundreds of miles, to improve success strike rates.

I set off in the rain to our local car boot sale, only ten miles down the road, which I attend every month or so, but a serious winter storm formed on the short journey and by the time I arrived, it was torrential.

I sat in the car debating about driving straight back, but thought I would just check the indoor stalls.

There were only two outdoor stalls I could see from a distance and was rushing past the very first one, when I quickly scanned the ground and could not believe my eyes.

I picked up a bundle of 2 foot long organic shaped sticks tied together with plastic tie wraps

I turned the bundle over and sure enough saw the very familiar distinctive signature, graphite illuminated by a car headlight, like a dream !

I looked up for the stall holder knowing this was going to be cheap, but I would be buying it regardless, I knew the model and thought all the pieces were there in kit form.

He wasn’t there, the lady selling burgers next door said he had gone to the toilet, so I dare not put it down, but also did not want to walk off looking for him in case someone thought I was nicking it.

So I ended up risking pneumonia standing in soggy mud and heavy rain for 20 minutes, imaging the seller and the scale of his pricing and awareness, I just wanted to beat the tenner, but would have paid 200.

Eventually a little old bloke arrived out of the darkness pulling his pants up, I shouted over ‘how much are these sticks mate?”

“Every thing is a pound My Mate” he shouted back!

My dream was complete.

I went straight to car and straight home as I wanted to get it dry.

This was at a time I had started selling the Willsher collection as prices had risen considerably, so once dry I put back together wedging the pieces in like Lego using a very similar one I already had as a guide.

It was perfect, and beautiful, I listed it at 750 the following day and accepted an offer of 625 within an hour.

The best percentage mark up of my life!

GB: I had amassed over 50 good sculptures and handled about 80 over 4 years, however realised that the house had become very ‘Willsher centric’, and you only saw a mass or murmuration, rather than an individual piece. I was actually devaluing them and realised I was not the best custodian.

My focus had changed and a new and unique opportunity emerged so I sold them all quickly over about eight months to a few serious motivated buyers and collectors.

I did keep 5 of the best ones and actually appreciate them more than the 50.

Around this same time I had become aware of Marcus Campbell selling the contents of Paolozzi’s Chelsea Studio from his London Bookshop, so realising that this was a ‘one off’ art historical event ploughed all the money into plasters, which nearly ties in with Brian’s initial interest in plaster models following his motorcycle accident. (Willsher originally trained making plaster casts as a dental technician, prior to a near-fatal crash resulting in hospitalization and six months in a plaster cast himself.)

Both artists coincidently share a similar altruism and often made work as gifts, so when examining bases their warm comments and dedication could have been written by the same person.

Both artists realised that Art is for All, and only resonates when seen, and thus made prolific variations and multiples all within the price range of most buyers. Both anti-elitists modestly and intentionally devalued the price of their own work by making too much, selling at public markets or simply giving away.

I have continued this mutually beneficial process by playing a small part in the targeted affordable dissemination of both these great artists life work, which has been a total pleasure and education.

(..a few days later)

GB: I was thinking about the chances of me coming across that BW at the very end of its life, surviving since the late sixties and now in pieces, doomed to be thrown in a skip later that day, I saved it at the very last possible moment in it’s 50 years of existence ?

I gave it a second wind, fixing and sprucing It up, sending on it’s journey the following day to stimulate intrigue for another half century!

Since that day, the rain never stops or hinders my enthusiasm, it’s not an issue but rather an opportunity.

You asked me a while ago about my favourite find, and on reflection that was probably it.

PWB: Graeme – thanks so much for sharing everything, it’s very much appreciated.

GB: I have enjoyed the chance to reflect and recollect far more than I initially imagined, so thanks for considering me as an contributor. It’s a very interesting process and concept. All collectors have diverse motivations who think and fetish about it privately in their own minds.
This is a chance to reflect and rationalise all the madness publically which few of us ever do, it’s almost easier not to think about it !?
This has been a very cathartic opportunity, whether it will change or cure me, I’m not sure? Nothing else ever has !