Greek column at Willesden High School
2003, oil pastels, A3
Love vase for Jacqueline Augustine - Rice and peas and ackee!
2005, Acrylics, A3
War vase for Achillea Achillea - I'll kill ya, Achillea!
2005, Acrylics, A3
Visionary vase for Mr Cobb - Artist, Musician, History Teacher
2005, Acrylics and Oil Pastel, A3
British Museum, Friends Opening 26/11/07
Ian Jenkins discusses the vanity, erotica and power of the Elgin Marbles
Perhaps the actors, Michelle Strutt and Tiberius Chis, thought the same thing when invited to attend the second workshop for a film project that is being created from scratch. But I had the left of centre idea of getting them to interact with the cultural happenings that took place on 24 March 2018 during the West London Gallery Bus Tour and improvise characters, moods and potential plot developments. I also wanted to test the actors in a live situation and observe their on-screen chemistry; they both responded fabulously in the chaotic circumstances.
I had worked with both actors before in The Melodramatic Elephant in the Haunted Castle which was a play, film and exhibition project. Michelle had played one of the four narrators in the play and Tiberius had several roles including a memorable portrayal of Charles Chaplin.
A similar exercise had already been undertaken at Canada Water with the other actress in the project, Jackie Kearns. Her creative writing had inspired one of the themes of the film:
“Aged tree, you cool your feet in the calming stream.
No human eye sees how your roots reach through the hard earth
To tend and nurture your fellow trees.
Aged tree, cool, calming stream.
These episodic and fragmentary elements of a dramatic triangular relationship should be viewed as marginalia for a forthcoming film. I Thought You Were Going To Talk is an unorthodox trailer for what might turn out to be a completely different but related film.
Many thanks to Rob Birch, Piers Thompson, Fifi la Mer, Olly Wilby and Gosia Lapsa-Malawska for their support during the Gallery Bus Tour. The tour was organised by The Galleries Association established by Damian Rayne of the Muse Gallery.
Flag flutters for freedom over the Greek island of Oinousses.
Candles flame still for the Chios massacre and diaspora.
No chime at church but the goats assemble with their brassy bells.
Mythological calm beyond the horizon.
My cousin guards dinner plates teeming with tens of thousands of bass and bream.
End of shift. Shift. Play.
I travel with Homer and Ms. Simpson to the castle at Mytilene.
Down at the taverna, news spills out about the landing of 17 Turkish asylum seekers.
Swimming against the tide that just won't turn.
Solitude on a beach with grains of sand that you can count in one palm.
Final visit to the stone house that my grandfather built as a refugee from Asia Minor.
The boat departs from Oinousses with a memory that can never return.
Greek War of Independence, 1821-1829
Greek nation state established after 400 years of Ottoman empire rule.
Greco-Turkish War, 1919-1922
Greek invasion of Northwestern part of Anatolia is defeated with establishment of modern Turkish state.
Treaty signed in 1923 to effect a population exchange of 1.5 million Greeks and Turks.
UNESCO have just listed Rebeitko on its Cultural Heritage List. This is the music and dance that my grandparent's generation brought over to Greece in the 1920s after they were displaced from the crumbling Ottoman empire. The happenings at late night cafes and clubs articulated the feelings of refugees. They grappled with poverty and despair while searching for earthy love and spiritual consolation.
Oinousses is 1 mile from Chios and 5 miles west of Turkey. Its waters, airspace and land are contested.
At its peak in 2015, more than one million migrants crossed the Mediterranean Sea. The islands of Lesbos, Chios and Oinousses, given their close proximity to the Turkish mainland, are one of easiest zones of approach into Europe for asylum seekers and economic migrants coming from Western Asia, South Asia and Africa.
I’m going to climb up to the highest mountain and sing.
When I cry and am in pain, the mountain will sigh.
In 2010, when undertaking research for the film and art project, Flood Light, about the inter-related history of the Grand Union Canal and Westway (A40), I first came across the photography of Adam Ritchie. When I opened up that archive box and out popped these evocative black and white prints of children in a raw concrete space, I vividly recalled the 1970s and my own childhood. I was the first person in decades to contact Adam about these photographs and in the process discovered he was one of the founding figures of the Westway Development Trust; the unique 23 acres of land under the Westway flyover that was fought over and gifted for the benefit of local people.
In 2015, I had the pleasure of interviewing Adam. He reflected on his father's legacy, the lows of education, the highs of the swinging 60's, community activism and on his fragile, but important photographic collection. It is timely to revisit the social conflict of the 1960s in North Kensington after the tragic Grenfell Tower fire. From a ruined landscape of houses demolished for the making of the Westway, residents were able to organise themselves and guide the woefully out-of-touch local authority into the making of community spaces and facilities.
I’m sort of a middle class person, though my great-great-grandfather was born a bastard. My father was a journalist and broadcaster with the BBC. During the war, he invented the V for Victory Campaign. It was a big letter V that was chalked up all over the walls throughout occupied Europe by the people telling the Nazis that they would not win. This was a formidable psychological warfare campaign. He was very interested in the importance of the BBC being about truth. It couldn’t be like Nazi propaganda where they told lies and people were shot for listening to the BBC European broadcasts. I think I inherited the idea of the importance of truth and honesty from my father.
I went to a public school which I hated as I was beaten every day for being the only socialist. The first day they asked you which way do your parents vote. I said they voted labour. I got hit. It was like that for the next few years.
My father had a stroke and then we had no money at all for a long time. I got a scholarship to the French Lycée in South Kensington in the 1950s. Then I got another one to study at an American university in Massachusetts. I studied economics to start with because I wanted to work for the European Union. I thought that was the future for the UK. But the economics professor was so right wing, he took me aside one day and said, I don’t care what you do, I’m not going to let you pass anything in my department and I want you out of the college. This was because at his lectures, he said, if the workers could just observe the law of supply and demand and accept lower wages, then everything would be wonderful. But what about the workers, I asked? In the end, he got more upset because all the other students started to think ‘why should you just assume it’s okay for people to be poverty stricken’. I eventually changed to study English or American literature and I got on beautifully with that.
The only non-fraternity place to live on campus was called Independence Hall. We each had separate rooms and there were a lot of women visitors. But one day the Dean said that for reasons of fire safety regulation we all had to leave our single bedsits so two people would share one bedroom and one study room. We all thought this was crazy, so I went to see the Fire Chief in the town. He said there was no regulation like that and didn’t know what I was talking about. But by the afternoon he had heard. He changed his tune because it was a one horse town; the college owned the town. About 2/3 of the students in Independence Hall upped and left the college. It was pretty shocking because a lot of them were in their last year. I left and went to Boston and tried to enroll in Harvard but that was impossible. In the end, I came back to England. I was very depressed. The whole experience was quite nasty.
I worked at Better Books, in Charing Cross Road. I met up again with a friend called Nicole Lepsky who I last saw doing A and S Levels at the Lycée Francais in London. She asked me to come to a party near Oxford. I said, yeah. She was going out with a guy called John 'Hoppy' Hopkins. I met him and we got on very well. He was getting a flat at 105 Westbourne Terrace and it had lots of rooms. There were about 5 or 6 of us there including me. We smoked dope every night, listened to very modern jazz and someone used to read aloud, things like Samuel Beckett’s Murphy and At Swim-Two-Birds, by Flann O’Brien.
We were always laughing our heads off.
I always wanted to go back to America to see it properly. To get a Green Card in 1962 you had to have £400. I had £200 in the bank. I got a letter from my bank manager saying I had £200 in the bank. And then twenty minutes later I took all the money out. I went straight to the American Embassy, saying I’ve got £200 in cash here plus proof of another £200 from the bank letter. £200 plus £200 makes £400, doesn't it! And they gave me a Green Card.
In America, I got a job as an economist at a place called Business International Corporation. I was hired to help give economic advice to the 100 top American companies wanting to operate in Europe.
I got a loft and redid it completely. It had been a leather factory run by an alcoholic and his policeman brother. They made suitcase luggage straps, that’s all they did, nothing else. This loft was huge. I got on very well with the landlord who looked like a bowery bum. For some reason he got many of his clothes from his tenants; they threw them away and he would wear them. I don’t know why! His name was Seymour Finkelstein and he was a very pleasant man. He lent me all the tools and materials to do up this loft. I took off all the plaster from one wall, so it was a plain brick wall. I put in a bathroom and kitchen and built a huge platform to sleep on.
I met Carola two weeks before I left for America. She was a typographic designer. I said, why don’t you come over with me! Two months later she left England and moved in with me into the loft. She got a job at Columbia University Press and did the typographic layout of their Encyclopaedia.
In the end we were all evicted from the building. I think Seymour didn’t pay bribes to the fire department as it was illegal to have too many ‘artists in residence.’ You could have a license saying AIR2 meaning there were artists on 2 floors of the loft building. Seymour had 4 floors of artists and he wouldn’t pay the bribes, so they closed him down. Put padlocks on our front door and told us you’ve got to be out in 2 days. I found another place to live.
One day while I was walking along a street, I saw a huge rat walking on the other side. It was walking quite nonchalantly, not paying much attention to anything. I thought, I’d really like a picture of this. I had a friend called Larry Fink who was a photographer. He had a darkroom just around the corner and I’d been talking to him about the images in New York I wanted to photograph. He said, why don’t you get a camera? I had recently just come back to England where Carola and I got married and I had about £150 from wedding money. I went out with Larry on a Friday evening to a big discount store and bought a good 35mm single lens reflex camera. On the Saturday I took lots of pictures and spent the whole of Sunday printing them in Larry’s darkroom. On Monday morning I was back in my office, with 15 good looking photos on my wall and the whole place, about 40 people working there, came by and said, 'Wow! These are really nice pictures.' The guy who ran the place asked me to photograph a Business International conference in Washington DC. I went down and took the photos and they got more orders for copies of the photographs than they’ve ever had using professional photographers. The head of the company at Business International, Bill Person, said, you ought to be doing photography and not economics. I said, photography is fine for a bit of pleasure on the side, but what’s serious is economics. He thought about it for a bit. He then sent me on a four day course to a company who test people to see what they were good at. It turned out I could be good as a lawyer, a journalist, a teacher. Nothing to do with photography. Bill said, “You should be a photographer. I’m going to fire you. You’ve got 3 months on full pay and you’re not allowed to come into the office except to show us photographs.” So I got sacked in this beautiful way. Only in America! He said something like it had happened to him and the change had been an important moment in his life.
I went to the magazines and they all said, we don’t give commissions to people who have been a photographer for 2 months. I’d already saved up for a holiday trip to England with Carola and so I thought about what would interest Americans about England. This was 1963-64 and I noticed there were all these people in London who had important jobs and were around 22 years old. They were graphic designers, musicians, journalists. The fashion editor of the Observer was Georgina Howell, who was 23 years old. The fashion editor of The Herald Tribune in New York was 67. She was writing about young people and it felt weird. There were lots of people past pension age in New York running things. It was a cultural thing. In London it was all youth, youth, youth.
I went to Glamour, a Conde Nast magazine, and said, I’m going to London in 2-3 weeks and I want to photograph these people, They are all under 25 and they’ve done really amazing things. Again, they said we don’t give commissions, but we will look at the photos when you come back. We might be able to publish a page. I came back and they published 6 pages and they gave me work every month after that. That was an amazing start.
At the time, I made a film with a friend, Yvette Nachmias, called "Room 1301.” It was about the office environment in New York when she was trying to go down one floor from the 27th to the 26th floor. The door locked behind her and she couldn’t get out on any floor at all. She walked down 27 flights to the basement and out onto the street. There were alarm bells going and 6 fire engines around the front thinking there was a fire. She went back to her desk and didn’t say a word. It was quite a nice little film shot on 16mm.
Before I came back to England in 1966 for the birth of our son, several interesting and important things happened to me in New York. I lived just around the corner from Tompkins Square on Lower East Side. This was a completely flat square with lots of pathways with concrete fencing on each side and some tiny patches of grass also surrounded by concrete fencing so you couldn’t get onto the grass. Mayor Wagner had a brother who was a concrete manufacturer. The city covered everything in concrete. People used to come to Tompkins square and had to lift their dogs over this 5 foot high concrete fence around every patch of grass. One day, the mayor started to build a concrete stage with a roof on it. There were diggers and this huge mound of earth next to where they were going to build this thing. They laid the foundations. The kids took over this hill of earth and they ran up and down it until it was smooth and wonderfully evenly shaped and not muddy anymore. It was the first thing that was alive in this whole square.
There also was a change of government with Mayor Lindsay. His new parks commissioner, was Thomas Hoving, the son of people that started Tiffany's. The contractors said that they were going to come and remove the earth. The mothers realised that the earth was very important for the kids. Someone phoned up Thomas Hoving and said you’ve got to come here because there is going to be trouble with the contractors ruining the last bit of our square. The mothers formed a circle and hundreds of kids were all on the mound and the contractors were ready with their machines. Thomas Hoving arrived in a big limousine with police motorcycle escorts. He talked to the contractors and he came and talked to the mums. Then he walked up the hill and down again. Talked to everybody once more and then said: I think it should stay. They called it Hoving’s Hill after this. I thought this was very exciting. It was political, very direct and everything was right in front of you. Also the fact of the mothers taking ownership of the space was very interesting.
There was one other thing in New York that was also an inspiration to me. Hoving fenced off a small bit of Central Park and set up poles every 3 feet and hung canvas from one end of the poles to the other. There was a 3 foot by 2 foot high rectangle of canvas attached to them. Brushes and paints were supplied. And it was called Painting Day. People came and painted all day on both sides of the canvas. I think they burnt the whole thing when it was over. Then the picket fence was taken down. I thought that was fantastic and it was all done in one day.
I came back to London with these two things buzzing in my brain. I went to see Hoppy and he’d set up the London Free School in North Kensington. They met and discussed things, had classes in whatever you wanted to know about. There were philosophers and writers and artists. They probably used the All Saints Church Hall for quite a lot of stuff. I think one of the things they organised was the first Carnival in London. It was not anything remotely like what we have now in Notting Hill. Rhaune Laslett and Hoppy started it. They just thought, let’s have a festival, This was about 1966. It wasn’t really organised and I think it was gently raining. I saw about 20 or 30 people walking past where I lived. They were singing and dancing and having a nice time.
But they also got permission for an adventure playground where the houses had been demolished for the building of the Westway motorway. They put up a rather beautiful painted sign saying London Free School Adventure Playground - Come and Play. I went there and saw it. It was all demolition rubble about 5 or 6 feet below the pavement and there was a brick wall all the way around to stop people falling into the rubble. And there was a plank against the wall. If you were athletic enough you could maybe slither down this plank. The kids did it without any problem. I never saw an adult there except a bit later. The kids built things out of the rubble from some of the 600 or so demolished houses. This was Acklam Road between St Ervans and Wornington Road. So quite a large site. And there were all these wonderful things being built there by the kids out of the rubble. I thought they need a bit of material help. I bought two hammers, a saw and huge bag of nails and hid them under the rubble. I came back a few days later to see there was a new building. It was really bigger than what was there before because of the nails and tools. I was very excited about that and told friends. We all went to see this building a few days later. But the thing I had described in such detail wasn’t there. Instead there were 3 other buildings even bigger and better. I just thought that was fantastic how kids and people could just do things. All you needed to do was just twist it a little bit. God knows, we need a little help at times! There is also the innate impulse to do things and to have the opportunity. There was all this rubble, What do you do with it? You build buildings, that’s what you do with it!
I went to a meeting of the London Free School at the All Saints Church Hall in Powis Square when they said that this is the last meeting. I said I’m really interested in doing something with the adventure playgrounds idea because they are going to build the motorway and this has got to be thought about. What are we going to do underneath the motorway? There were 5 or 6 people who joined me including John O’Malley. We formed the North Kensington Play Space Committee and met at my place for 3 or 4 years after that planning, talking to people and writing letters; I must have written 1000 letters. I was working nearly full time on it for 2-3 years as well as teaching photography at Central School of Art.
Adam Ritchie's photographic prints of organised play schemes under the Westway, 1968-69
Kindly reproduced by Adam Ritchie and RBKC Local Studies and Archives
As the motorway was being built, we asked for a meeting with the Greater London Council. They agreed to this and phoned to ask were we bringing anyone else. You could hear their jaw dropping as we said, yes, we’re bringing Sir Hugh Casson who was an architect and planning consultant to the Queen and Ottawa and 17 other cities. He was a big deal. And we're bringing the secretary of one of the largest charities in London. We are bringing Peggy Jay who was the parks committee head of the previous local government. She knew everything about how things were done. And we had Ilys Booker, a sociologist, with an international reputation, who was working in Notting Dale and she supported us. It was an extraordinary list of people. When we came to the meeting there were maybe 60 people in the room. They had all their officers and secretaries and committee people. We came with our lot who all gave fabulous speeches. We also had a half page article in the Times and a leader in the Guardian all in favour of our plan. They agreed to further meetings.
Later they said we couldn’t have community facilities under the Westway, because they had planning permission to build a car park under the whole of the motorway. They were going to build a 22 foot high concrete wall shutting off the underneath of the motorway for the car park. It would just become this awful space. One of the imagined reasons for the motorway was to reduce local traffic and if you got a huge 8 acre car park underneath the bloody thing, where are the cars going to come from? They are going to come off the motorway and park there. Everything was so badly thought out.
We hired a barrister to contest this. He wrote a letter to the Transport Minster asking whether they had planning permission. Just by chance we knew Donald Chesworth, who had been on the Planning Committee 15 years before at the London County Council. He said, I don’t remember agreeing to a car park. I phoned up the Town Clerk of the GLC and said could we possibly have a copy of the minutes of that meeting at which the planning permission was granted. There was a gulp at his end. The next day the 22ft concrete screen slabs that they bought or had commissioned, thousands of them, made to wall off the whole of the underneath of the motorway, was stopped. I don’t know at what cost. They had to abandon the whole thing. But we were a bit nervous about chasing them legally because we were trying to get their support for our scheme. It was swept under the carpet. But they had told the Transport Minister that they had planning permission and this was a lie. If anyone thinks that officials are telling the truth, they may not be and you need to double and triple check.
I forgot to mention that we had someone from Kingston University Architectural Department who designed a pamphlet for us. This had an air map of North Kensington with the motorway on it and our plans for the spaces underneath. We also got sponsored by the British Road Federation because we were the only people suggesting a possible social use of a motorway; but I was really against roads impinging on everything without any obvious advantages. BRF gave us a stand at the motor show which would have cost us thousands of pounds and they paid for all our materials. We produced this 15 or 18 foot long map of the motorway cutting across North Kensington showing its beginning and end. At public meetings we stuck this map on a huge series of boards and talked about the whole thing and said - imagine you’re a bird looking down on this, this is what it looks like. So people who didn’t read maps could get this scene of what they were proposing to do. And we gave out bits of paper and loads of magic markers and they could write down what facilities they wanted and where it should go under the motorway. It was real site-specific thinking. We were clear that we couldn’t put our own ideas forward. So all of the ideas were from peoples’ suggestions at public meetings and by talking to people. Almost everything suggested was practical and sensible. I was knocked out by this.
We also went to see a big London charity and discussed it several times with them, A wonderful man ran it called Tony Woods. He was excited about what we were talking about. We said could you put aside money for when it is needed. And he said, I can’t exactly remember the amount, but something like, I can put aside £20,000. It was serious money, He said he’ll put it forward for the next 3 years so that it will be available when needed. We worked with an insane confidence of thinking of things like that. If you are a little tiny group flaffing around on the outside of this circle, there was no reason why you’d think of things like that. But we did. I think our political thinking was pretty good.
There was no possibility that I could have done any of this without John O’Malley. He was absolutely a rock. He and his wife lived and worked at the Community Workshop in St Ervans Road. They were community organisers. Jan worked on an area that I thought was more serious, housing. She did a huge amount of research and had a real strong framework of understanding what the problems were and how to solve them by helping people. Many commentators said that North Kensington had the worse housing in Britain. It really was overcrowded, with decrepit, often disgusting, bad housing There were 15-16 people living in a house with one toilet that was overflowing and with no heating. Rachman-type landlords who didn't give a shit about these people. Horrible!
John and I organised play projects that were temporary schemes and hopefully would become permanent. So for example, we ran the Summer Play Project in 1967 that had 200 students from all over the country coming to help us. We got a disused school to house them.
We got a grant to pay for a secretary and changed our name to the Motorway Development Trust because we spent all our time on the motorway scheme.
We didn’t have false ideas of anything. This was quite important. We always knew that we couldn’t get what we wanted, which was for the community to have control over their own area. But we could do a hell of a lot better than just having a car park under the motorway. One of the principles behind the whole campaign was that we had to have fun while we were doing this. You can’t do any good if you are not enjoying yourself!
The council agreed to setting up the North Kensington Amenity Trust that would run the spaces under the Westway. The council wanted to set it up with the Town Clerk as Secretary. This would have been a really poor organisation. We were quite good friends with the Charity Commission and suggested this wasn’t the proper way to set up a charity. It was a way of subsidising rates and so the council was put right on that and had to change the complexion of the organisation. We also had to have an independent chairman. The council chose an ex-ambassador and we then had middle of the road people. In my view, people who basically didn't want to rock the boat with the council. Establishment people. John and I weren’t allowed to be on the committee until we got the Charity Commission to insist on more openness and then got elected onto it. It was stultified for many years because of the lack of imagination of the council in dealing with it. They probably let us on in the end because they didn’t have any ideas and we had quite a lot. At all our meetings with Kensington Council we did the soft cop, hard cop thing. John would go in with his Arran sweater and he looked unshaven and radical. I would go in like a posh kid from Chelsea. They couldn’t believe the radical things I was saying and were then surprised that John didn’t bite their throats and had these practical things to say. But the Trust didn’t like it. In the end, I got a job building houses in Wales in 1973. I stayed on as an elected member on the Amenity Trust for a year or so and came to London for the meetings.
We had started with the idea for an adventure playground at one end of Acklam Road. Then it became a mile-long strip up to White City. A lot has happened that seems a lot better than a giant car park and some has developed based on community amenities rather than just commercial. We always included in our plans some commercial space because it provides jobs and some income. We have seen gentrification increased beyond belief but there is not much you can do about that with so little community controlling their own space.
Original vision for community spaces under the Westway, 1968
Westway Development Trust consultation on how to regenerate the spaces, 2017
Adam Ritchie with the Latymer Mapping Project, 2013
I used a photo lab over the years because I was never terribly interested in printing. They also had all my negatives, 10-12 years worth going back to my time in America. It was stored at a place called Sky Labs which was in Maddox Street to start with and then moved to various places. I hadn't spoken to them or been in touch for about 3 or 4 years because I was building houses in Wales. I popped in and asked for a picture from my negs. They said we don’t have your pictures. I walked out and thought that proves that I’m not a photographer anymore. It wasn’t a tragedy. I didn’t go back in and scream or shout. I wish the hell I had now! They closed up their old shop and as I had moved a few times, there was no way to get in touch with me. They probably put it all in the skip. It’s very sad because I had some nice pictures. I think the ones of the kids playing were the best ones I ever took. I’ve probably got 10 prints left altogether from thousands of pictures.
My colour slides and contact sheets of Pink Floyd and Velvet Underground happened to be in a bag in a parking bay under Trellick Tower which I hired for storage. The bay was broken into and wrecked with paint poured over everything. But they didn’t take or destroy this one bag which had all my Pink Floyd and Velvet Underground photos. They have since been published in thousands of books, magazines and newspapers and exhibited at the Tate, Liverpool, the V&A and the Whitney Museum in New York.
I only take a few snaps now. There was something so free about taking photos then, less self-consciousness.
I have struggled to talk about Grenfell because I am an artistic "witness." I made a deep connection with the estate and its gardens several years before I started working here on an art residency. When I was officially contracted to produce a film and mural in 2015, several residents kindly opened their front door and hearts to a stranger. I navigated a delicate path between authorities and residents at a time when the latter were in dispute over the tower’s regeneration. After the tragic event in June 2017, I handed over all my photos and films to the police as part of their criminal investigation. I gave a witness statement. As we try to understand what happened at Grenfell, artists and film makers will all have a challenging but important role to play alongside the media.
I’m trying to objectively recall how I approached making art on the estate when I was commissioned by the TMO (Tenant Management Organisation) to create a tiled art work and short film. The TMO were impressed with my V&A Museum and RIBA funded residency on Silchester Estate. I convinced them that an open-ended, durational process would work far better in delivering the outcomes rather than the original two weeks envisaged. As it transpired I was on the estate for approximately 1 year 2 months. When the time is right I will talk about the film, The Forgotten Estate, in more detail.
The original plan was to design a large tile art work to cover an area approximately 3.6m wide by 2.2 m high in the newly formed ground floor entrance at Grenfell. This was to be created with the residents and children of the tower block. I was given a completely free brief as regards design. I decided to use large scale drawings as the blueprint. But as the drawings were so impressive in their own right, I decided to just stick with that as the completed art work. In total, 4 large scale drawings were made in the temporary lobby, on the elevated concrete deck just outside the tower and during the Grenfell fun day.
The design for the art work was inspired by the classic blue and white willow pattern used in pottery. I was constantly sketching in the ceramic gallery at the V&A where this pattern had caught my eye. I always envisaged using an image of Grenfell tower in the completed design and perhaps to have this framed by an equally large tree. I saw a flock of birds in flight as representing the residents energised by their newly renovated building. The sessions with the kids would allow space for their own images and experiences to be added. That was the plan. As it transpired, the most successful drawing was realised at the Fun Day.
The Grenfell Fun Day on 30 May 2015 was held mainly as a form of respite from the conflict taking place during the renovation. I was invited to attend and hold a workshop. A teenager looked at a blank sheet of paper. "What do we draw?" "Absolutely anything you like." Most children had the desire to draw or write what came naturally to them. The tower block they lived in. A girl picked up a leaf and sketched this. Animals started to appear. One wrote the memorable words: live, laugh, love. The cultural identity of the children also became a point of self-reflection with a Moroccan and British flag. The outline drawing in oil pastels was made by approximately 20 children and I then coloured it in.
The art work then fell into a state of limbo. I had shown it to the TMO who were happy and also took it to a residents meeting. This would prove to be my last engagement and memory of the estate in May 2016. In the middle of that meeting, shortly after I had talked about the art work, one of the residents had challenged me over my film and this annoyed another resident, whose tense relationship with each other I had observed before. They then had a fight, then and there, in the meeting at which children were present. It lasted for about 5 minutes. Blood had to be cleaned off the walls. I believe they shook hands shortly after.
I could understand how the residents were wanting to get on with lives after the huge impact of the building works. But the TMO? Why didn't they contact me again to hang the art work in Grenfell? I can only assume they were not pleased with the way my residency had developed, especially in terms of the film project. I held onto that art work for a year. After the fire it assumed importance as a visual and textual testimony to a destroyed community: Live, laugh, love. I'm pleased that this has been handed over to Grenfell United and is in the new community space for survivors and the bereaved.
I have now started work back on Silchester estate across the road from Grenfell. After the anniversary of the fire, we will hold an Open Estate Garden weekend on the 30 June and 1 July. This will display the art created by residents. I have plans for a dance or performance piece facilitated by Dance West, although this might have to be staged later on in the summer.
Over the years I have self-published photo books as well as making hand crafted books. I have increasingly turned to the latter as a means of reflecting on my engagement at Lancaster West and on the people I met and befriended. I am constructing my own self-questioning narrative. Did I make the right decisions in terms of my engagement? How will my imagery and art work be reproduced and the film footage help with any inquiry or criminal proceedings? Above all, how can I help the victims and community? I know that this was a "voiceless" community that nobody really listened to. I have also thought about my interaction with the press as they strive for the dramatic and poignant human story as well as the political message behind Grenfell. During the previous 9 months, I have developed an inner artistic voice that has kept the media, by and large, at arms length. These books, as I turn the pages, are part of my opening up.
Imageless and Voiceless
Booklets, 32 pages each, 2018
Oil pastel drawings, 5.5 x 4 inches
Just heard about Grenfell Tower. Ghastly. What on earth went wrong?
I was wondering if we could get this picture to do a story on.
I would be very grateful if you could give me a ring as soon as possible to discuss an article I am working on for this weekend.
I am the Dangerous Structures surveyor on the tower following the incident. If you were involved in the original construction it would be good to talk or meet you to discuss how certain elements work together.
Constantine, various journalists have tried to contact me but I am not responding, so I would appreciate your confidence and not pass on any of my contact details.
I don’t want him to think I’m stalking him! I don’t actually need him to discuss the fire. It is the building we are interested in and the original vision.
One thing I'd say is that if we want to tell this hugely important story then now is the time, before the world moves on to the next headline. We have three million readers worldwide, a lot of them policy makers. Do please let me know if you change your mind.
I am contacting you in relation to a live broadcast we are holding tomorrow evening. The event will consist of an audience of local Councillors, residents, firefighters, volunteers etc. If this is something you may consider being a voice for, please let me know.
I do totally understand your reticence to give opinions on the matter, but could I trouble you with a quick question – do you know of any nearby towers that have a similar interior, i.e. common parts and layout?
We are not tabloid journalists in for a quick story. We do very considered films on very difficult and distressing subjects.
Thanks for the clear details in each of your blog posts. In an attempt to lend a little assistance from afar, a group of us have been building up three Wikipedia articles [[Lancaster West Estate]] [[Grenfell Tower]] and [[Grenfell Tower fire]]. Please go to these pages and tell us of any inaccuracies.
I would rather use an image that speaks to the life in the community rather than awful images of destruction and tragedy to publicise the auction. The last thing I would want to do is appear to sensationalise the suffering of so many people.
If you do have a change of heart, let me know. We would happily make a £200 donation to a Grenfell charity for use of your images.
Dear Mr Gras, the V&A have been contacted by the Detective Constable from the Art and Antiques section of the Metropolitan Police in connection with the Grenfell Tower enquiry. She is working on the construction side of the investigation and has been tasked with identifying and contacting every company who may have information about the construction or refurbishment of Grenfell.
I'd like to ask some questions on a positive note. I'm not press or politics. I knew that building was fundamentally safe. I'd really appreciate some answers regarding.... Sorry I can't say here.
An exceptional ceramic object was made recently at one of the workshops I'm running at Silchester Estate. Cerys Rose made a tower block to begin with and then added this onto a base structure. But it was what she did next that was truly remarkable and inspiring; she took a conceptual leap of faith that is advanced in one so young. Cerys playfully added on what appeared to be flying buttress supports. I then asked her to reflect on what she did: "My art piece is based on protecting. It is a peel, for example a banana peel. When it is peeled, it is not protected. When it is not peeled, it is protected." So much for flying buttresses! Cerys was on a more imaginative wavelength. At the time, I didn't want to ask her whether the banana protection of her building was in reference to Grenfell tower which looms large over all of us in the area. Cerys's friend, Sina Michael, another very talented artist, had made a more direct reference to this in her scale model ceramic work of the five high rise tower blocks that dominate the local skyline.
As residents at Silchester Estate shape clay into objects real and imagined, sublime and surreal, my mind wanders back to two previous ceramics projects. One that I have blogged on and another that I have repressed from living memory, until now.
Leo The Last is a 1969 film that I used as a meditative tool and to create art with residents of the estate in 2015. This wild and experimental film, tapping into the counter-culture of its era, has mythic qualities for our patch of North Kensington in London. It is a true Notting Barns film made on the plot of ground and in the soon to be demolished “slum” houses on Testerton Road before they were developed into Lancaster West estate and Grenfell tower. Leo is an aristocrat who has moved into his million pound white house that is cheek by jowl with the black painted properties of his down at heel Afro-Caribbean neighbours. Leo becomes radicalised, albeit in an idealistic fashion, after he discovers he is the slum landlord for the area. The film ends with a community riot that burns down his house. Leo is philosophical about not being able to change the world, but we can change our street.
After screening the film on a 35mm print for the general public, a group of residents went to the V&A and created houses and other structures under the supervision of ceramic artist, Matthew Raw. I was then able to use these to re-create the road that you see in the film. This was displayed at the museum as part of my end of residency display of art.
In a prophetic parallel, Cllr Rock Feilding-Mellen, had the opportunity to become Leo. Rock is not a film character, but a Tory Councillor of aristocratic origins, who moved into a posh property that was located across the road from Lancaster West estate. But there was no sense of him becoming radicalised by his neighbours or attempting a more modest community engagement here. His job as deputy leader of the council and head of regeneration was to mastermind the plans for the systematic regeneration (i.e. demolition and disruption) of Silchester Estate. This was at the same time he was directly responsible for the modernisation of Grenfell tower. You cannot watch Leo The Last now, without making these poignant connections.
When I was inviting residents to make ceramic houses and reflect on social history and its relevance to the contemporary world, I had little idea what was about to happen in North Kensington; or even how that might radically change me. I feel my art engagement here was sympathetic to the local residents and their sense of place. However, if we go back a few years to 2012, another ceramic art project was artistically and socially less successful.
I was running several art projects at the time around the theme of water and one of these had Cultural Olympiad funding. It was for an 11th century motte and bailey listed heritage site at Manor Farm. I enlisted two other artists, Emily Orley and Elinor Brass, and they worked with the education programme manager for Hillingdon, Fabiola Knowles, in devising a wonderfully organic project called In Mercy For A Trespass.
The plan was to build a durational outdoor installation with a selection of ceramic objects made by community groups and children and for these to be partly submerged around the moat and for it to collect rainwater over time. The installation would create the impression of an archaeological dig, now abandoned, overgrown and collecting water in a way that the moat no longer did. We worked with about 100 residents and school children and used their ceramic pots, cups and sculptures to create the installation. This should have been a fusion of contemporary and community art.
However, what we did not foresee, was the relative conservatism of the area. Shortly after the installation was complete and before we had an opportunity to put down any signage or run a community event, we were informed that the installation had to be either substantially redesigned or removed. We were never able to have a direct conversation with the Councillor who thought the art work looked “messy” and "not very aesthetic.” The concept of it being allowed to grow into the landscape was lost on them. It was one of the most difficult projects to manage as Emily and Elinor quite rightly refused to rework the design without a more frank and informed discussion. Communication had broken down.
Were we at fault as artists who had imposed ourselves onto the cultural landscape? Ironically enough, Emily and Elinor had prefigured this issue by calling the installation In Mercy For A Trespass. The heritage site at Manor Farm also used to be a manorial court and in the medieval era residents would have to pay fines for any crimes or misdemeanours and these would be couched in the terms of a trespass: "Richard Bacon puts himself in mercy for trespass in the grain with a heifer" or "Elena Thomson is in mercy because she gathered herbage from the standing grain of the lord contrary to the prohibition."
After a cooling off period, another willow artist was brought in to tidy up the installation and make it look pretty. There is no denying this reworking of the design did look "aesthetically" better and more of a visual presence on the landscape. However the whole process, ethos and subtlety of the original vision was lost. The installation was renamed Ea Eard, which literally translates as ‘water earth’ in Anglo-Saxon language.
This is the sweet-bitter project film made after the final installation was completed. Apart from one festival screening, this is the first time it has been given a public airing.
There are some banana peels that are not protective.
Defrosting a fridge freezer and making a creative cocktail at the same time.
Equal measures of brilliant green, vermilion and ultramarine mixed into ice.
Draw onto paper and let drip.
Add pencil to finish.
Eye see myself in warm foreign clime.
As ice to spare, add the branch of a tree from the Greek island of Oinousses.
Reverie of favourite drink, Chios Mastika.
The spell doesn't last long but brightens up the drain.
Today is another day for artful dreaming.
I recently treated myself to a double bill of The Angelic Conversation (1985) and Mirror (1975). I don't think any programmers have paired these two films before, but they resonate with each other, lyrically and visually, as well as offering divergent approaches to art based film making. Both were viewed on a computer screen, with the Jarman film rented online. However this screening of one film after the other was an act of homage to my golden age of cinema going as a teenager in the 1980s. After wee nippering at the ABC Edgware Road, I gravitated to the flea pit circuit that took in the posh Everyman at Hampstead and the grungy Scala at Kings Cross. During this period you could watch double or triple bill features in memorable combinations designed to shock and awe: The Exorcist riding on the back of Enter The Dragon; Terror followed by Savage Weekend (the rediscovered memory of Terror would inspire an arts project called The Melodramatic Elephant in the Haunted Castle); Fassbinder double bills; and, not for the faint-hearted, a starter, main course and dessert of Pasolini films. Also, certain films that should not have been coupled, such as the groundbreaking In The Realm of the Senses (Ai no corrida).
I’ve just looked over some calendars from the mid 1980s and was surprised to see how much film I was ingesting. There may have been a limited amount of TV channels in those pre-satellite days, but there was no shortage of films. Auntie Beeb and new kid on the block, Channel 4, had a public monopoly access to the film market. VHS was established and DVD was on the horizon. But to be able to see what your heart and soul desired, necessitated a trip to the picture house.
It’s good to see there are plans afoot to design a Scala book, as the cinema produced lovely posters listing their monthly features. I usually hoard memorabilia, so I can’t account for the fact that I don’t have a single calendar month from my membership of the Scala.
Perhaps it might surprise you to hear that I really can’t watch films anymore. I rarely go to the cinema. When you are in the business of producing art, there seems to be little time and perhaps inclination for seeking out art in your down time. Maybe it was also studying Film and Literature at the University of Warwick for 3 years and the celluloid feast we had as students, watching each film twice for close textual and semiotic analysis and which also included us projecting the 16mm prints sent up from the BFI. After ingestion, overdose?
While I had an eclectic taste, enjoying the classic narrative joys and happy endings of Hollywood cinema, it was the European art house movies that really tickled my fancy; although they did on occasion stretch your patience; the 317 minute cut of Bertolucci's 1900 seen at the Curzon Bloomsbury springs to mind. In the 1980’s, the work of two artists shaped my aesthetic outlook and personality: Derek Jarman’s gay-punk sensibility that pricked the constricting norms of Thatcherite society; and Andrei Tarkovsky’s metaphysical exploration of memory and haunting use of landscapes.
I had to write an essay to get into Warwick University (in addition to A level grades AAB and a medical examination!) That essay was on Derek Jarman’s The Angelic Conversation which I saw on both the cinema and TV in 1985. The film was a jittery and sensual evocation of Shakespeare’s Sonnets as read by Judi Dench. It was set in a timeless landscape of grainy, every changing palettes of muted colours that condemned men to drift and brood and lock horns in the slow-motion ritual of love and sex. The Sonnets themselves have an enigmatic quality that has divided scholars; the first 126 addressed to a man and the last 28 to the dark woman.
Abbey Fields, Kenilworth 1989
As a young man, dressed in my 1940’s suits, I seemed to wander in and out of both Jarman’s and Tarkovsky’s filmic landscape. I even had a dramatic film, This-That, inspired by my personae and made by fellow student and dear friend, Jacob Barua. That film was recently digitally remastered and there are plans for a sequel that updates the character into the 21st century. I better watch these spaces.
After Warwick, I attempted to forge a part-time career as a stills photographer and eventually made it behind the film camera. Apart from several minor juvenilia works, my first real directorial effort was Flood light (2010). This was made for InTRANSIT festival of arts and I made a connection with the V&A Museum, later becoming one of their artists in residence. Although it wasn’t consciously conceived of as such, this film employed the strategies of what we might term the art film. The film used dialectical montage rhythms around the Grand Union Canal and the elevated road in the sky, Westway (A40). It fused together autobiographical elements (school books, carpentry tools), archive photos and film from the 60s and used period locations at the V&A to meditate backwards and forwards in time. There was no narrative drive or dialogue to guide the viewer in interpreting this stream of visual consciousness. A dripping soundtrack connected up images from beginning to end. It was a film about my urban identity in North Kensington. How I was able to intellectually and emotionally connect with water and concrete built environment. It is a film that has been aptly screened under elevated motorway roads in East and West London and in the Whitechapel Gallery. It has all the sins of a first film, but is probably my best work thus far.
Poster for Flood Light, 2010
In addition to making films, i have also curated film programmes and these have been useful platforms to support other emerging filmmakers. These are not exactly double or triple bills, but short films screened one after another and all inter-related on a specific theme. Flood Light was screened as part of a programme in which I invited other film makers to journey with me across the landscape of North Kensington. Local residents were also supplied with film cameras and edited their films at the V&A's Sackler Centre for Education. A panel from the V&A, Westway Development Trust, British Waterways and RBKC Arts selected the Best Film submitted for Flood Light and this was Intersections by Rickster. Henrietta Ross from British Waterways commented on this film: "I was very impressed by this. I thought the format worked really well conveying a great sense of movement. The sense of a journey was represented well, as was the great variety of activity going on around the location and the varied perspectives the location offers on West London life. I thought the different views were matched really effectively with a great eye for detail. The combination of colour, movement, stillness, nature and community activity was really engaging." It was also a pleasure to see an early film from film maker Azeem Mustafa who has since gone on to specialise in martial arts film. Simona Piantieri has also subsequently produced exceptional work. I particularly like the documentary film she made with Michele D'Acosta called A House Beautiful (2017).
I followed up Flood Light with another curated programme called West Ten Fade Out (2013). This was able to showcase the film making talents of Dee Harding and Sandra Crisp.
When I was the V&A Community Artist in residence based at Silchester Estate, I put together another selection of short films called Home Sweet Home (2014) around the issue of housing and domesticity. I particularly like sourcing archive films and using extracts that provide ironic or amusing contrast in the programme. I used two such extracts in Home Sweet Home and they are animated films from the Wellcome Collection. The Five (1970) is by Halas & Batchelor and opens with a young girl coming home from a party and going to bed; but her pooped toes take on a life of their own. The opening 7 minutes of Full Circle (1974) has exquisite art and animation by Charles Goetz that shows the development of city living and the possibility of over-population in the future leading to the collapse of civilised life.
I have also tried to use film to connect residents with the history and social issues in the area in which they live. One example was a free screening I arranged of Leo The Last at the Gate Cinema in 2015. This was and is a profound film that connects with Lancaster West estate and Grenfell tower. I even wanted to screen this on Lancaster West estate for residents and the housing authority but circumstances conspired against that. The residents were locked in dispute with the Tenant Management Organisation over the Grenfell building works. I was commissioned by the TMO to make a short positive film of this regeneration taking into account the residents perspective. The film I delivered was a one hour long film completed in 2016 and called Lancaster West - The Forgotten Estate. It was based on the life stories of seven residents. This was not a straight forward documentary with people speaking to camera. It is voice over set against the architecture of the estate. Although that film was deemed not fit for purpose by the TMO and fell into a state of limbo, I know that it really bonded me with residents in the community who have since become good friends. Hopefully it will have a proper screening in the near future. I have other footage that is strictly reserved for the police investigation. It isn't a good feeling to have art work that is delicately tied to the tragic events of Grenfell. There is no awe, just the shock.
2015 Poster for programme of short films, including rough cut of Lancaster West - The Forgotten Estate
As I think of film, I draw and vice versa. I visualise films in my mind and these invariably start off as storyboard type drawings. The reality its that most films never get off the drawing board. But with the combination of drawing and writing, perhaps I can release some of that pressure cooker tension of being a multi media artist whose main aspiration is to make films. Let me conclude this blog by visualising a meeting of sorts between Derek Jarman and Andrei Tarkovsky on Hampstead Heath. Nothing is impossible in art and film. I need you to imagine that both are simultaneously drawn to the area for the making of a film.
A young man materialises out of the bushes, doing up his trouser belt, exhilarated, out of breath. A trickle of blood flows from his lips. Tarkovsky screams in Russian: cut, cut! The actor has wandered into the wrong film. A grounded helicopter rotor blade whips up a force of air onto the billowing grass and almost topples over the camera. Cut, cut. The production assistant rushes over to the helicopter. The timing is all wrong and aviation fuel is expensive. Tarkovsky curses under his breathe. Then looking at the bemused actor and the apologetic pilot, he starts to giggle and can’t stop giggling. The crew look at each other unsure whether to laugh. Tarkovsky motions for the actor to stand still and for the cinematographer to train the camera on him. Smiles all around and the actor looks up at the sky. It is a bright cloudless summer evening sky. A few rain drops start falling.
Cut to Jarman lining up his shot on the other edge of the heath, near a pond. He has torn up the script (that didn’t seem to be working) and is waiting for something to happen. His actors have got lost and a search party has been sent out. The rest of the crew have gone off for a tea break. A woman in her fifties dressed in a flowered dress walks into shot and sits on a log in the distance. She catches Jarman’s eye. He goes over and speaks to her. Hello, are you waiting for someone? She shakes her head in a combination of yes, no and don’t understand. He tries again. Would you like a cigarette? She nods and takes one. While lifting up the fag to his match, Jarman notices a raw burn mark on her wrist. Jarman wanders back to his camera. He zooms onto her. They hear the sound of a helicopter in the distance. She looks up in expectation. She appears to be acting. Jarman thinks she looks Eastern European, maybe Polish or Russian. He starts filming her as she turns her gaze to the pond and the gentle ripples on its surface formed by the wind.
Booklet for Stewart Wallace, 2018
Oil pastel and pencil on paper
Folded paper: 8 inches by 11.5 inches
Unfolded paper 16 inches by 23 inches
I suppose it was inevitable, as I return back to work with residents on the estates around Grenfell, that my own private art work would move in a corresponding pattern. Since the new year, I have made two artist's books.
The first, featured above, is dedicated to Stewart Wallace, the community gardener at Lancaster West estate. This is a fold out book that consists of 3 separate images drawn with oil pastels and pencil. The title page has Stewart in his garden, his sanctuary. He invites me back at Easter to see the full fruits of his labours when the strawberries and raspberries will come into season. I have visualised this in the yellow pages of the book. Stewart has his back bent to the soil and tries to avoid looking up as he lives in the shadow of the burnt out Grenfell. Image two in the fold out section of this book, illustrates the tower with 71 spherical objects, each one representing an adult and child and unborn baby, that died as a result of the fire. On the reverse side of this double-image page is a darkened abstraction. It might be a space inside one of the flats of that tower block. It seems to still flicker and pulse as if there is an after glow from the fire that can never be extinguished. There is a legal and societal search to find meaning and identity in this now truly Brutalist architectural ruin. Are there any fragments left of tooth enamel? Can this domestic object be reunited with the survivors and bereaved? I fold back the pages of the book and put it into storage. I wonder what Stewart will make of this booklet when I show him.
The second book, while having more of a traditional structure of pages (hence no fold out and fold back challenge), is actually far more complicated to read. It's a book I've made for myself. You might think the author would be in control of every aspect of the image making. Sorry! The world of my art does not operate in this fashion at this moment in time. I can only offer tentative dream-like suggestions and hope you, the viewer-reader, can make positive or negative connections that might offer some resolution to the narrative. Beyond the strawberry patch, perhaps you can help me decide what is the future? Or will there always be an artistic enigma to the tragedy of Grenfell?
Untitled cover page: This is me dressed as an artist
But what am I leaning on or pushing away from?
Pages 2-3: we have cut to another time, but the blue prevails
4 media images of Grenfell projected in rapid succession - where are we?
Pg 5: I knock on the front door of a flat on the 21st floor
Who restored my hair, yellowed my face and gave me pink earrings?
Page 4: No one can answer my knock, the family who live here are on holiday
Why does page 4 not precede page 5 and what are these new buildings?
Pg 6-7: I see my face briefly glimpsed in the metallic panel of a lift
Are we going up or down or passing through new pipe work?
Pg 8-9: I have drifted in an out of consciousness, but have arrived
Who are these two strangers wanting to dance with me?
Pg 10: The sun sets at the end of empire building (after Turner)
Pg 11: I am dancing alone across a square
Are you happy to dance or sad as the empire ends?
Pg 12: The End
Or is this a new beginning?
Booklet for Constantine Gras, 2018
Oil pastel and pencil on paper
Reflection from artist studio as More West is being built
The chronicle of a child's growth recorded on a door frame
Photos taken at 7 Shalfleet Drive, 2014
Can a building have a soul? If so, how might one measure this on a scale of soul from 1-10?
One? Nah! This is just a plain pile of functional brickwork or unloved concrete. To give it a Presidential seal of approval, "a shit hole!"
Five? Maybe given its provenance and state of use, there is a connection being forged between property and person(s). Perhaps a bog standard church and appreciative congregation might fit this bill.
Ten? Now this might be hard to put into words. Some otherworldly sensory experience of an English castle made in heaven. A building that has survived carbuncular judgment and phases of regeneration. A cave you have carved with your own hands or flat packed assembled.
Excuse these digressions, as this is completely uncharted territory for this author and a subject matter reserved for the confines of a philosophical department in a city of dreaming spires.
Let us return to North Kensington terra firma. This blog is about 7 buildings, most within several hundred yards of each other: one was built as a film set and several have long since been demolished. They are St. Francis of Assisi church (c1860), 1-2 Whitchurch Road (1863), 2 Silchester Terrace (?-1960s), 7 Shalfleet Drive (late 1960s-2015), Latymer Nursery (late 1960s-2013), Grenfell Tower (1974) and More West (2016). The question I ask is do these buildings, historic or contemporary, have a recognisable soul beyond their outer facade? I have worked as an artist in three of them, one as a rented studio flat. While looking at spiritual qualities, I want to relate this to how I have used them in my art, the intersection of aesthetics and politics. To complicate matters, I have to declare from the outset that I'm not mystically inclined or believe in angels. However there is definitely more in heaven and hell than can be dreamt of in my atheistic philosophy.
1-2 Whitchurch Road
House built for stain glass artist Nathaniel Westlake in 1863
Currently a St Mungo's house for homeless people
St Francis of Assisi church
Side chapel roof designed by John Francis Bentley, C1860's
House for Nathaniel Westlake displayed at the V&A Museum, 2015
Acetate sheets, 3x3 metres
Let us return back to that proposition. It is a line from a film, completely unscripted and conjured forth from the consciousness of the gardener at Lancaster West estate, Stewart Wallace. When I asked him how he knew this building had a soul, there was an even better quip: "I wouldn't be an angel otherwise.” The soulful building in question was 1-2 Whitchurch Road. Stewart had been living next to it for decades and said if he won the lottery, he would buy it and lord the manor.
The building was the home of Nathaniel Westlake and designed by his close friend, the architect, John Francis Bentley of Westminster Cathedral fame. So we have soul pedigree here. During the 1860s they were both converts to Catholicism and working on St Francis of Assissi church which was a stones throw away from this house. This was a part of London noted for its piggeries (pig farmers) and potteries (brick works) and undergoing urbanisation with the coming of the railway and the growth of an Irish community. Westlake did not stay long in his dream house and we can perhaps speculate this is because the area developed into one of the worst slums in London. Amazingly this grand looking house, that is now listed, was once a squat and is still used to house homeless people.
The building was a key location in my film, Vision of Paradise (2015). This was a meditation on housing and community using Dante's concept of heaven, hell and purgatory. In 1863 Westlake was working on his stain glass design, The Vision of Beatrice, to illustrate a scene from this story while living in the house on Whitchurch Road. This panel was collected by the V&A Museum. As an additional homage, I made an installation called House of Nathaniel Westlake, comprised of 30xA2 acetate sheets incorporating images of North Kensington buildings.
Soul value: 8/10 for its origins and continued charitable use when this type of property would be snapped up by oligarchs and venture capitalists; although shame on them as they would not want to live cheek by jowl next to an estate!
As mentioned, Bentley and Westlake put their heart and soul into St Francis of Assisi church. This is a small church with connected buildings on a tight plot of land, but the overall design and interiors sing of the unique talent of its guiding architect and artist. This is self-evidently a soulful building with a wonderful acoustic quality. For the remastered film soundtrack to This-That, I recorded two singers here performing a duet called Duo Seraphim. 9/10.
Staff from the V&A Museum help me prepare for a community artist event 21/08/14
7 Shalfleet Drive, W10 6UF
Mayor of RBKC meets local residents and architect of More West, Joanna Sutherland
Demolition of Shalfleet Drive, 12/02/15
During 2015, I was the V&A Museum community artist in residence based at Silchester Estate. The first phase of regeneration was occurring in the area with the building of More West. I was embedded here with a studio flat at 7 Shalfleet Drive. This was part of a lower and upper deck housing block with 3 room flats that must have been designed for a pensioner or a couple, certainly not a family. So did this flat at the end of its social life have a soul? I would rate it 7 for its cosy uniformity of space, perfect for an artist who tried his best to give it back to the community with a series of bespoke art events that included film screenings and drawing/music happenings.
Centre stage in the living room of that flat was a simple map which had photos of all the listed buildings and structures in the Royal Borough of Kensington and Chelsea. The addition of Silchester Estate on this map was the radical touch that only the locals noted. This map was a popular attraction to the visitors, including the then Mayor who came to an event called I Want To Live, Draw Me A House. Before she arrived, the police dropped by to inspect my premises. It seemed they had valued the spirit of the location in terms of a negative. It was an unknown precedent for Mayors to visit council flats on estates in North Kensington, even ones about to be regenerated. I was told this was a first.
Film projection of Home about the last house demolished for the building of the Westway and Silchester Estate.
It was screened at Latymer Project Space, formerly a nursery on Silchester Estate and soon to become More West.
Photo by Emily Ballard, 2012.
We move onto a house that now only survives as an archive photo. It was taken by the actress Mary Miller in December 1967. She wrote an accompanying letter that read: “I remember taking this picture of a house and a tree amongst the rubble and desolation of the early stages of the motorway from Bramley Road, looking west. It looked so forlorn and I admired the tenacity of the householder. i seem to recall it was an elderly man. There was something about him in the local paper of the time (I can’t recall which paper exactly). But a few weeks later he had succumbed to the pressure and the house was destroyed - also the tree. I think it all happened round about the time they blew up Maxilla Gardens for filming with Marcello Mastroianni.” This had all the ingredients to inspire the cinematic imagination. A small house that was left standing while those adjoining had been demolished. That solitary man with raincoat and hat standing outside. The corrugated sheeting. Even Mary’s reference to Leo The Last that was being filmed near by. I simply had to tell the story of this photograph.
I presented this as a short film pitch to Latymer Projects. They accepted and I made Home for their inaugural exhibition. I acted the role of that homeowner from the photo. You don’t see me/him clearly as we move nervously around a house and twitch at net curtains waiting for the developers to serve us an eviction notice. At the end of the film, there is a panoramic shot of a net curtain house constructed on the Westway tennis courts, on a spot that marked the real life location of this lost house. Given all these resonances, I would have to evaluate this lost house in the photograph, as an 8 for its elegiac soul.
Set design from film, Home (2012)
Cinematography by Natalie Marr
Film still from Leo The Last (1970) with Glenna Forster-Jones (left)
Filmed in North Kensington and on Testerton Road before its redevelopment into Lancaster West
Image kindly reproduced by Park Circus Limited
Leo The Last is a quirky, enigmatic and powerful film that dramatically deals with race and social conflict. It was made by John Boorman in the late 1960s. It is a film of its time with hippie experimentation. Yet also profoundly prescient in that it tapped into the zeitgeist of the area. It remains a touchstone for thinking through art and redevelopment; it inspired me, as I feel certain it will continue to do so for other artists.
The film makers were given unique access to the streets of North Kensington just prior to its slum clearance and they created a false house on Testerton Road. This had a white classic stucco facade and contrasted with the rest of the derelict houses which were painted black. This is a colour film with an impressive monochrome palette. Leo is the last in the aristocratic line and for the opening sections of the film peers out of his house with a telescope onto the world of his opressed black neighbours. He becomes radicalised by observing their plight, especially when he discovers he is their exploitative landlord. In true 60s fashion he decides to stage a revolution with destructive consequences. I felt a great affinity with Leo. As an artist, I was using my camera and drawings to reflect on changes to my social environment and in the process was being radicalised. I was getting a deep understanding on the cultural richness of life on these estates. Yes. There are social challenges, but these were not the sink estates as portrayed by politicians and councillors intent on running them down and forcing through regeneration schemes.
As part of my community engagement, I got hold of a rare 35mm print as the film was not available in this country on DVD . I screened this for residents at the Gate Cinema (which is in the Notting Hill and not the Dale part of the borough). After watching the film residents from the estate joined me down at the V&A to create clay houses in response to the film. I was able to use this as part of an installation display at the museum.
I have to give this film-set-building a 10 on the soulful scale. It has mythic and poetic qualities. It was built in order to be destroyed. Many local residents and the architects of Lancaster West Estate came to watch the impressive finale as the house explodes in flames. What did they think and feel watching film makers turn their former homes into a film set prior to its demolition for the building of Lancaster West and Grenfell tower? The soul of their buildings disappearing at a rate of 24 frames a second and then projected at cinemas in the following year to a largely unappreciative audience and box office.
Latymer Nursery converted into Latymer Projects
154 Freston Road, 2012
(Bottom photo by Sandra Crisp)
I also developed a strong connection with a former nursery on Freston Road that was built as part of Silchester Estate. This was handed over to Acava Studios and Latymer Projects as a temporary space for local artists prior to its redevelopment into More West. I made a film about the space and the 5 artists based here in its last days. I arranged for a local milk man to deliver one final crate. At 6am, in eerie darkness, I filmed him delivering his jinggling bottles. Then later on I improvised a sequence with other artists in which we walked around the nursery using these bottles as musical instruments and creating a trail of fragmentary glass. The nursery for children and artists had a special atmosphere. We were at home in its play spaces and rooms flooded by natural light. 8/10.
More West was built on the site of my artists studio and the Nursery. It was an indicator of how the council wanted to replace social housing in the area by building around the high rise blocks. This must have also been part of the thinking behind the £10 million investment in Grenfell tower that was to follow. More West was Peabody housing for the 21st century: 112 flats with mixed social and market rent; £500,000 for a three bed flat and million pound penthouse pad on top, perhaps with a telescope trained down on its poor relations. Leo The Last meets J. G. Ballard’s High Rise.
I tried to avoid my flat being used as a showroom by the developers and council. The architects model of the new housing block was on display next to a poster of the film Leo The Last. I would film spiders constructing their silky webs as builders climbed up and operated cranes. I got to know my immediate neighbours on the road who were waiting to move into More West. Some took this in a positive fashion, others clung to the memories of their former lives. The building was designed by Haworth Tomkins, complete with roof top sculpture that evokes Frestonia and has won many architectural awards. I have a soft spot for this building, but acknowledge it has yet to plant roots and be integrated with the high rise. 7/10. It is a building in need of love.
Shalfleet Drive residents hand over keys to the developers, 18/01/15
More West (with crane in the centre) being built around Frinstead House on Silchester Estate
View from the 17th floor of Grenfell Tower, 12/09/15
Building work collage: Frinstead, Markland, Dixon, Whitstable and Grenfell tower, 28/06/15
I wanted to conclude this blog by writing in detail about Grenfell Tower where I worked for one year four months. I was commissioned to made a film about the regenerated tower block and produce art for its new community room. I developed close friendships with residents. I don’t know how to evaluate the spirit of this building. It still pains me to talk about it in the past tense.
As a postscript, let me branch out and offer a few comparative thoughts about the 1958 Notting Hill race riots and those tragic events at Grenfell Tower in 2017. Both shone a media spotlight on this area around Latimer Road station and exposed the deficiencies of society and council services. The chronic state of housing must have been a factor causing friction between white residents and the recently settled Afro-Caribbean community. Sociological studies took place into the root causes and how society could improve itself. In the immediate aftermath of both events, all manner of groups and social activists consolidated networks in the area to counter the lack of strategic guidance from the authorities. The Notting Hill carnival was one of the unexpected outcomes of the riot. What will follow the Grenfell Fire? I fear no positive outcomes in the short term. As of writing, the civil and criminal prosecutions are yet to unfold. There is great concern that the former will not address deeper underlying social issues and the latter will not result in anything other than corporate fines. It is a testing time to find spiritual qualities in housing and art.
Burnt cladding in the garden of Lancaster West estate, 06/01/18