‘DOTTY FOR MATT FORSTER’S UBERART!’

So here’s what you’ll do…

When your soul cries out for sustenance of the extrasensory kind, follow my lead, to the ‘Royal Opera Arcade Gallery’, London, and begin a most fulfilling journey of delicious ‘Über Art’! Created and developed with relentless fervour by the man, whom I like to call ‘Watercolour Wizard’, but whom is better known by the moniker of Matt Forster, this latest exposition is a vibrant testament to all of his dedicated efforts…and being of the ‘über’ variety, there’s more than enough to go around!

Noticeable is the space which houses the majestic collection…

A split-level gallery, flooded by luminescent white-light, akin to that of Skywalker’s sabre…Poised, yet utterly yielding to the array of immersive, wrap-around watercolour works!

Flowing from figurative to abstract, landscape to dreamscape, multicolour to monochromatic, über to klein, each piece immediately resonates with a clarity of purpose and distinctive technical execution, which speaks volumes to the subconscious. Forster is fearless in experimentation… collaging, cutting-out, scraping-back, slicing angles… Each, a willing foil for expressing his vision. In one mesmerising series, he seems to ‘liberate’ paint-spots and yet, contain the liquid movement, so as to become controlled ‘dot-formations’, of ever-increasing tonal and visual depth. In fact, with such gusto for graphics and colour collaborations, you would be forgiven for thinking him a designer of a couture collection for Spring-Summer 2015!

The opportunity to sojourn in the selection of global destinations is wonderful… In a hushed millisecond, collective languages can almost be deciphered exchanging tales of their pictorial formation! ‘Dos Pinturas’, ‘High Noon’ and ‘The Band San Cristobal de las Cases’, masterfully regale of reflective days in sunsoaked climes, whereas ‘Über Autumn’ and ‘Über Pennines’ celebrate the richness to be found amidst the more muted hues of our glorious British Isles. The latter, particularly capturing the masculinity of terrain, with the femininity of undulating hills or rippling waves… Pure, authentic, beautiful and boldly interpreted.

However, I would entreat you not to overeat the enticing wall-mounted fayre, for this is a week of artistic delights which offers even more! Indeed, this selection coincides with the launch of ‘The Art of MJ Forster’, his first, limited edition, retrospective book, the production of which, was made possible by a hugely successful crowd-funding campaign. What you will see displayed is accompanied by what you will get in the stunning publication, produced by ‘The Town and Country Gallery’…so you can snack on further morsels, at leisure!

What I would encourage you most definitely do, is partake of the ‘Über Art’ experience, firsthand… Meet Matt himself. He’s a highly personable and witty character, with an underlying intensity and creative sensibility, in perfect complement to the idiosyncratic medium of watercolour. Assuage that artistic appetite…go on….but be prepared to want, at least, a second helping from such a prolific menu!

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‘The Art of MJ Forster’: A Retrospective Exhibition (and Book Launch) is on now until Saturday 11th October at The Royal Opera Arcade Gallery, 5B Pall Mall, London, SW1Y 4UY.

Books are available for purchase during the exhibition, from ‘The Town and Country Gallery’ and via Matt’s newly revamped website!

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Afrow-Appreciation to:-

Simon de Pinna and the ROA GAllery for hosting a fabulous P.V and…

… HUGE CONGRATULATIONS to Matt Forster….

…‘Über Artist’ extraordinaire and, hopefully, future fashion/fabric designer!

©AFROW2014-2019 ALL RIGHTS RESERVED

‘MEET MICHAEL LA ROSE…’

…if, that is, you can catch up with him…because Michael la Rose is, in his own words “good, but busy”!

Unsurprising, when you consider the fact that he is; 1) “a cultural and political activist, author and researcher”; 2) “chair of The George Padmore Institute (an archive of the black struggle in Britain of people of African, Caribbean and Asian descent) “; 3)”a director of New Beacon Books”; 4) the Founder of ‘Savannah View’, the umbrella organisation under which he manifests his skills as a writer, lecturer, publisher and event co-ordinator and add to that 5) his role as Curator of the BFI Southbank’s upcoming ‘We Love Carnival’ event, and you’ll understand why this expert in all-things ‘Carnival’ might be more than a tad occupied!

What with May to August, being Carnival season and in spite of Hurricane Bertha’s attempt to rain on the parade, nothing can quell the excitement which surrounds one of the biggest and best examples of street celebrations. Thus, in the run up to the BFI Southbank’s ‘African Odysseys’ festivities, of which ‘We Love Carnival’ forms a significant part, the wonderful organisers arranged the opportunity for yours truly to conduct a thoroughly modern and time-saving e-interview, with the polymath who is, Mr La Rose!

Hailing from Barataria, Trinidad and Tobago, born to activist parents, John and Irma La Rose, whom he cites as having “influenced [his] perspectives and activities”, the family moved to Venezuela, finally settling in North London, where he was brought up. Having established his roots, so began the parallel journey of rooting around the topic of ‘Carnival’, resulting in an extremely enlightening unfurling of answers! I defy you not to become your own expert, by the end!

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“WHAT IS YOUR EARLIEST CARNIVAL MEMORY?

My brother Keith and myself were taken by my father to the ‘Carnival Gala’ events at the Commonwealth Institute in London. They were electric, exciting and creative.

WHO IS/ARE YOUR MOST INFLUENTIAL CARNIVAL PERSONALITY/IES?

Other than my mother and father, in the Caribbean, it will be the many Kaisonians (Calypsonians) and Soca artistes like ‘Roaring Lion’, ‘Sparrow’, ‘Gabby’, ‘Shadow’, ‘Scrunter’, ‘David Rudder’, ‘Square One’, ‘Machel Montano’. Then ‘Mas’ designers like George Bailey, Stephen Derrick , Frank Smith, Dragon of the Moko Jumbies and Peter Minshall. Finally cultural activists including Lennox Pierre, Ian “Teddy” Belgrave and Gordon Rohlehr. From the London Carnival community it would be Selwyn Baptiste, Johnno Roberts, Dexter Khan, Vernon “Fellows” Williams, Darcus Howe, Keith Lackhan and Philmore “Boots” Davidson.

WHEN DID YOU REALISE THAT ‘CARNIVAL’ WAS YOUR TOPIC OF CHOICE?

Many Trinidadians are born into Carnival. My family and relatives educated me about Carnival. I went to Notting Hill Carnival for the first time in 1973 with my brother, mother and girl cousins from Brooklyn. The experience of dancing in the streets behind ‘Ebony Steelband’ was magical. The pride for the beauty and complexity of the Carnival festival we (Caribbean people) produced was very important to my identity as a young black youth in Britain.

WHAT IS ‘CARNIVAL’ ABOUT?

The Caribbean Carnival is a celebration of the end of slavery and is a festival of cultural resistance, identity and survival, though many do not know it, even those who participate in Carnival. It incorporates Europe, Africa and Asia and is an artistic expression and creation of the poor and oppressed of the Caribbean, the most underprivileged, the ‘Jammette’ (French diametre from the other side). There are similar Carnival histories in South America (Brazil and Colombia), Central America (Panama), Caribbean (Cuba, Barbados, St Vincent, Grenada and Haiti) and North America (New Orleans).

WHY IS THE CARNIVAL TRADITION SO GLOBALLY INFLUENTIAL?

The Caribbean Carnival tradition has global appeal because it is a unique, exciting, expressive, dynamic street festival which empowers the powerless through songs, dance and masquerade. It is theatre of the streets. It is, on many levels, about freedom. It is carried in the hearts and soul of Caribbean people and reproduced in a local form in North America, Caribbean, Europe and now increasingly, Asia and Africa. It is an empowering, exciting, truly inclusive, enjoyable global product.

WHEN DID YOU GET INVOLVED IN THE ‘WE LOVE CARNIVAL’ SEASON?

I used to attend the incredible, monthly ‘African Odysseys’ screenings at the BFI. Someone on the committee suggested to David Somerset at the BFI to approach me to present an anniversary screening of the Brazilian film ‘Orfeu Negro’ (Black Orpheus), which is the Greek myth, brilliantly set in Rio Carnival. After that, I suggested screening ‘Calypso Dreams’ and did other film introductions and presentations for ‘African Odysseys’. I eventually suggested the idea of ‘We Love Carnival Screenings’ in 2012.

WHAT IS YOUR ROLE IN THE ‘WE LOVE CARNIVAL’ SEASON?

I chose the films for the ‘We Love Carnival Screenings 2014’.

WHY DID YOU CHOOSE THE PARTICULAR FILMS INCLUDED IN THE SEASON?

The films, in their different ways, encompass the history of the key moments in the history of the Caribbean Carnival in Britain from 1959 to the present day.

HOW IMPORTANT IS THIS COLLABORATION WITH THE BFI, TO PERPETUATING THE FUTURE OF CARNIVAL?

The collaboration is very important . A national institution like the BFI, through ‘African Odysseys’, is reaching out to a section of British society (the Black community and Carnival community) [and giving] an opportunity for people to see and hear the untold story of the Caribbean Carnival in Britain. Film is a powerful and immediate medium to inform, educate and open up debates about Carnival art and struggle. The future for the Notting Hill Carnival will rest on information and education.

WHO DO YOU ‘SEE’ COMING TO THE ‘WE LOVE CARNIVAL’ SEASON?

In terms of attendance, I would expect the London Carnival community, scholars and academics, teachers and people who want to know more about the history, art and struggle for a Caribbean Carnival in Britain.

WHO WOULD YOU MOST LIKE TO SEE ATTEND THE SEASON?

Everyone, all classes, all races, all religions. Caribbean Carnival is totally inclusive and welcoming. I would like to see those people who are curious and want more knowledge and understanding of the Caribbean Carnival and what lies behind the masquerade.

WHERE DO YOU ENVISAGE THE SEASON WILL ‘TAKE’ VISITORS?

The ‘We Love carnival screenings 2014’ will help people understand the role of an important figure in British history, Claudia Jones, on the 50th anniversary of her death. They will understand how Notting Hill Carnival was transformed into a Caribbean Carnival. They will see the events that led to 1976 Notting Hill Carnival insurrection. They will also learn about a Carnival musical institution, the Panorama of the Steel orchestras.

A VISITOR CAN ONLY ATTEND ONE EVENT, WHAT WOULD YOU RECOMMEND?

I would recommend the film on Claudia Jones and [although] there is much debate about her relationship to the Notting Hill Carnival, the film shows the impressive, high-profile, indoor Caribbean Carnivals she ran for 5 consecutive years.

WHAT WOULD YOU LIKE TO SEE HAPPEN TO CARNIVAL IN THE FUTURE?

I would like to see the Caribbean Carnival and the Carnival culture of the African Diaspora understood by the people who create it, take part in it and attend it. That it is studied and respected on all the myriad of levels from sociology, economy, maths, folk art to fine art and theatre. That it is recognised and appreciated as a fantastic creation of the poor and underprivileged.

HOW CAN THIS BE FACILITATED IN THE WIDER WORLD, E.G EDUCATION?

It definitely can be achieved through education at all levels, from primary to tertiary, or just by those who are informally interested. I have done a publication for primary children with ‘Tamarind Books’ on the Steel pan and been involved with projects for teachers to incorporate teaching on Carnival culture in performance, maths, history and many other creative classes.

WHAT HAS CARNIVAL TAUGHT YOU?

There is no limit to the imagination or what you can achieve if you work together in unity.

HOW WILL YOU BE PROMOTING CARNIVAL IN THE FUTURE?

For the future, I will be using my skills in unity with other committed people like BFI ‘African Odysseys’ [team], to promote the unknown history of the Caribbean Carnival and promote its art and creativity.

WHAT IS MOST IMPORTANT ABOUT CARNIVAL TO YOU…WHY DO YOU LOVE CARNIVAL?!

For each individual, the answer is different. For me as a designer, bandleader, DJ and plain Caribbean Carnival participant and spectator, it is to experience the indefinable ‘Carnival Spirit’. That physical and cerebral joy that comes when the hard work of the preparation [and] practice comes together on the streets, on the days of Carnival. Here masquerade, performance, dance, music and spectators are one, in the freedom of the Carnival Spirit. Unique.”

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 On that Carnival crescendo, the online ‘q and a’ session was at an end! I was left, ready to join the celebration of the ‘We Love Carnival’ season and after such a rousing e-interview, I wholeheartedly encourage you to do the same!

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Many Afrow thanks to:-

Michael La Rose for taking the time out of his busy schedule to provide such inspiring answers!

Troy Pickersgill for organising such an amazing interview opportunity!

FOR MORE INFORMATION AND TICKETS TO ‘WE LOVE CARNIVAL’, CLICK THE LINK BELOW!

AFRICAN ODYSSEYS 

©AFROW2014-2019 ALL RIGHTS RESERVED (INTERVIEW EDITED BY AFROW) 

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EMAIL EXCHANGE FROM TROY PICKERSGILL (BFI)

‘Great read!!’

‘AN EAST-END LOVE AFFAIR’….

So, yours truly has returned from swooping and dipping upon the mighty back of a modern-art and musical mistral! Just as this meteorological thermal is quickly-accompanied by clear and fresh weather, so too, has my mental after-party been partnered by crystallised, cognitive art-assimilation!

Utterly wooed have I been, by the dapper-gent of East London’s multi-disciplinary art-scene..and I have fallen for every magnificent manifestation, in both conscious and subconscious realms. Frankly, the area oozes creativity…. From urban to fine-art, street-style to avant-garde gear, old-skool to nu-skool, game-changing musical-movements, the E.C’s got it covered!

Invitational rose petals had already been fluttering my way, from ‘The Shoreditch Fashion Show’… as described in my subsequent post ‘The Arts go OFF-the-BEAT-en Track’… However, the tokens of affection have continued to adorn my artistic pathways in the guise of such events as ‘The Other Art Fair’*, which was another world, the adjoining ‘Moniker Art Fair’ which was brain-crunchingly breath-taking.. and a one-off video-launch of the effortlessly vibrant ‘Alpha Romeo’, from one of electro-pop’s finest purveyors, M.T!

We begin the beguine, under the industrial roof of ‘The Old Truman Brewery’, where I was one amongst an intense, rush-hour-sequence of excited visitors, weaving their way along corridors, bearing the brilliance of a superlative spectrum of talent, expressed through exhibits of painstaking-perseverance and time-honoured, yet idiosyncratic, technique.

Like a theramin, my heart-strings were plucked by the invisible fingers of visual-art, as a domino of pieces from emerging and established portfolios, brimful of imagery, alike, fell into the open arms of my anticipation. The beauty of these East-London flora had me fluttering from genus-to-genus of urban, photographic, live, printed, filmic, painted, embroidered, collaged, stencilled and oh-so-fine art media! In fact, at every turn, so high a standard of work was on display, that I wondered just how the respective gallerists had chosen which of their artists to showcase. ‘Was this how it felt to choose a favourite amongst a brood of children?’ I wondered! Well, the joy for me, was that I didn’t have to select… I simply succumbed to this ever-more enticing visual fayre, in all of its beauteous glory and let my internal, creative-chorale decipher its own descant of mounted offerings!

Thus, the coloratura of crystallised global-landscapes of Jaykoe, gave way to semi-quavers of surreal photographic re-interpretations of water by Angelika Spranger, in turn, complemented by M.J. Forster’s sotto voce, watercolour wonder-world, followed by the crescendo of Matt Small’s multi-layered car-bonnet creations, Keira Rathbone’s staccato, type-writer-work, the ralentando of 3-D relief, by the outstanding Jo Peel, the harmonies of acute attention-to-detail, wielded by Mark Powell’s pen-art and a collaborative coda of riffs-on-black-and-white, as manifested by Zeus and T.L.P, in their transplantations of outdoor urban-landscapes to indoor art-scapes! A relentless downbeat of hip-hop sonically-booming through the space, often caused my senses to intensely focus-pull upon each moment and, as the days progressed, the revelation dawned that, in fact, each moment was a happening, waiting to unravel… It took a second visit, on a comparatively calm Sunday afternoon, for my own voice to add its bespoke grace-notes, the result of which, are wrapped within this written solo.

Gifts from East-London did not come in the shape of objets d’arts, alone! Oh no! Indeed, my promenade was to continue along the Ridley Road market, to a video-premiere party at a delightfully quirky Carmen-Miranda-esque establishment, by the name of ‘Wu’s’. At personal invitation of synth-pop supremos, ‘M.T’ (which stands for ‘Many Things’), and in defiance of the imminent arrival of Hurricane Jude, I accepted… Well, after all, it would have been Wu’d not to!!

At first glance, what with all of the stalls neatly-housed for the night, you would have been forgiven for wondering whether you had taken an errant turning but I had faith in my East-London chaperone and my faith was duly rewarded with an evening of all-consuming fun, in an intimate atmosphere of warmth and hearty welcomes, more akin to a close-knit family gathering than that of an inaugural video-preview of a critically-acclaimed musical outfit! From the outset, Michael, the lead singer, was the perfect host…A willowy figure, with shoulder-length, chestnut-brown hair and deep pools of super-friendly, yet intense, eyes, he cut a dash in a three-quarter camel mac, opened just enough, to reveal a loose, black, scoop-necked jumpsuit, with its long sleeves hinting at the overcoat’s cuffs. Affectionately-known to his friends as the ‘white, fluffy, cloud’ because of his love of wearing white on-stage, it was evident that his quiet humility had long-inspired many of whom made up the guests that night. As the venue became increasingly filled, I sensed that the overriding energy revolving around the room was of friendship, support and love. The video, was joyfully reflective of just such emotion, evolving from band close-ups, to an all-out party-scene, featuring many of the people in the amassed crowd.  As I left, amidst a flurry of hugs, I remember feeling as if I had been some long-lost member of the family, at a celebratory reunion!

I walked into a waiting evening of sullen storm-clouds, apt for precipitation, M.T’s ‘Alpha Romeo’ the more-than-welcome sonic invasion into my soul’s soundtrack and a heartfelt acknowledgment that, whilst the whirlwind-of-wooing was over, this was no fly-by-night notion of affection. On the contrary, yours truly had been veritably won-over by my dapper-gent that is East London and marks the renaissance of a relationship, the kind of which, I am certain, will last forever.

© AFROW2013-2019 ALL RIGHTS RESERVED

www.monikerartfair.com : www.theotherartfair.com : www.pagetpr.com : www.mtmanythings.com

: www.facebook.com/ridleyroad (Wu’s)

*Heartfelt thanks to Paget PR for organising my invite to the amazing event!