http://swallowsndaggers.net/

Made by the “father of queer theory” Guy Hocquenghem, in collaboration with radical filmmaker Lionel Soukaz, Race d’Ep! traces the confluence between the development of photography in the 19th Century, and subsequent representations of homosexual desire. The film was originally accompanied by the publication Race d’Ep!: Un Siecle D’Images de l’Homosexualite by Hocquenghem, and moves from the nudes of Baron von Gloeden and early sexology, to gay sexual liberation and cruising on the streets of Paris in the 1970s. Influenced by the writings of Michel Foucault on the history of sexuality, and reflecting the revolutionary queer activism of the Parisian movement Front Homosexuel D’Action Révolutionnaire, Race d’Ep! explicitly charts the visibility and representation of gay culture.

The screening will be introduced by a conversation between filmmaker Lionel Soukaz, and author and essayist Bruce Benderson.

More information about this very exciting event is here

$5 Entrance Donation
Members Free
Limited capacity, entrance on a first come, first served basis

Courtyard Rooms, South Wing, Somerset House, London

Horiyoshi III, the internationally renowned tattoo artist currently has his first exhibition in London at the esteemed Somerset House.

Horiyoshi belongs to a royal line of horishi tattoo artists: those specialising in the traditional full-body tattoo called Irezumi. This exhibition studies his paintings on silk as well as displaying tattoo instruments and paint brushes.

Kokoro means ‘heart‘ and ‘feeling‘ in Japanese and through the paintings exhibited Horiyoshi III preserves traditional Japanese culture and mythology through incredibly beautiful silk paintings. Each painting shows typical Japanese images such as dragons, koi’s and white phoenix’s, but each one is depicted is varying sensitivity, intricacy and harshness depending on the story told. The diverse nature of each painting gives the exhibition an eclectic feel considering that most of the paintings are all the same size and repetitively placed beside one another. The varying brush strokes and colours used also add to this fantastic effect.

Having “vowed to never be lazy until the day I die”, he still tattoos six days a week after thirty years of practice. You can see a video of Horiyoshi III at work here which The Guardian recently made.

After meeting Ed Hardy (the exhibition opens with a quote from Hardy about Horiyoshi’s pioneering impact on tattoo culture and history) and becoming close friends, Horiyoshi started to use the electric needle alongside using traditional techniques and pioneered a new form of Japanese tattooing.

The exhibition is free and runs from now until until the 1st of June, it is open every day from 10.00-18.00. More information can be found here

“Ever since I was young, my Fathers job involved a lot of travelling and when we moved to a new city, some were smaller but others were larger: I loved to wander around the town. I loved it…
When I have a project I’m working on, I’ll basically leave my place before noon and, like a stray Dog circling ( or a Cat- or sometimes like an insect) I’ll go from alley to alley, resurface, and then enter another alley. And I’d just wander…

Then, after nightfall I’ll come home and take a shower. And then, go out again. I’ll have a drink somewhere in Shinjuku and stroll around and take photos. I’ll hit another bar and have another drink…hit the streets again: thats my method.  The Red Light District is “sexual”; the women are “sexual”, but its not only women. The city itself is “sexual”.

I guess I want to say that photography for me, isnt the most charming, unbearably fun thing I could do, but at the same time I cant help but find it, a medium and a habit that is…quite seductive”

Daido Moriyama-  An Artist At Work

The period surrounding the late 16th and Early 17th century England gave birth to an era, referred to musically and socially as Elizabethan Melancholy. Melancholia as an area of creative inspiration, was a generally unexplored and new realm so it is little surprise that this new expression of deep sadness, lament and woe peaked in popularity at the time. There was something deeply romantic and profound about these many men, who spoke of their heartbreak and sorrow with romance and conviction. According to Lawrence Babb (The Elizabethan Malady) “Melancholy was very much in vogue in the England of Elizabeth and the early Stuarts, especially among the intellectuals and would-be intellectuals”.

One of the many renowned practitioners  to emerge at that time was elusive yet timeless Lutenist and Poet, John Dowland- who survives as one of the defining bard’s of the era. Although having a relatively shrouded historic past, his work and his contribution to both music and poetry have not lain unforgotten. The Dowland we know through his work, was a man who not only suffers deeply mentally, but dedicates his existence to trawling the darkest regions of his life and mind, for the sake of his art. He coined the motto: Semper Dowland, Semper Dolens: “Always Dowland, Always Doleful”.

Self punishment, heartbreak, love for darkness, death and the beauty of the night are all staple themes within Dowlands work. Everything from the complexities in his compositions; the diminishing between contrasting time signature & scalic melodies all help to convey a sense of instability, and progression of thought patterns. More importantly it demonstrates his desire to make beautiful, notions and feelings that which would normally be discarded or classed as lesser. His words are often understated and to the point, whilst his music is heavily ornamented and a demonstration of typical styles of that time. He, on a number of occasions welcomes sorrow (” Come Sorrow; come her eyes that sings…”) in a way that suggests “it” exists to him as this bittersweet, ruthless,  female entity which is not only his muse, but a presence which he cannot live without. What often suppresses criticisms of him being no more than a pathetic depressive, is his ability to blur the lines between narrative and thought, in a way that is painfully honest: gripping as well as shocking by his choice of dramatic speech and notions. Sympathy often merges with curiostity; we feel sorry for the man presented to us, but nevertheless feel compelled to hear more.

i.

Can she excuse my wrongs with virtue’s cloak?

shall I call her good when she proves unkind?

Are those clear fires which vanish into smoke?

must I praise the leaves where no fruit I find?

No, no: where shadows do for bodies stand,

thou may’st be abused if thy sight be dim.

Cold love is like to words written on sand,

or to bubbles which on the water swim.

Wilt thou be thus abused still,

seeing that she will right thee never?

if thou canst not overcome her will,

thy love will be thus fruitless ever.

ii.

Was I so base, that I might not aspire
Unto those high joys which she holds from me?
As they are high, so high is my desire:
If she this deny what can granted be?

If she will yield to that which reason is,
It is reasons will that love should be just.
Dear make me happy still by granting this,
Or cut off delays if that I die must.

Better a thousand times to die,
then for to live thus still tormented:
Dear but remember it was I
Who for thy sake did die contented.

Can She Excuse My Wrongs? – The First Book of Ayres

It’s only by invitation, so if you too want to be blinded by the mirror of smoke, the blue fish shark tower, the dilatante scum scraper, the ordained premadonna… CONTACT US ASAP: rm@sangbleu.com

Jan Saenenredam 1665-1607. Taken from the 7 Planetary Gods series.

Photos I took of some very beautiful folk tattoos on a recent trip to South West India.

All images by Reba Maybury

The artwork of George Catlin bears as much significance aesthetically as it does anthropologically for its time. Known for his predominant realism-inspired approach, he documented extensively the Native Peoples of Northern, Southern and Central America during the early 19th century. From initiation rites to animal studies, hunting scenes to landscapes, Catlin witnessed it all and re-interpreted it with as much grace as genuine interest. His love for the then declining and relatively untouched Native world has allowed these lost cultures to be preserved and catalogued within his art: in many cases acting as a sole reference to some of the rarest sights witnessed by an outsider. Many of those he depicted were deeply rooted around traditional means of adornment and modification of the body for ritual, beauty and religious appeasement. Body suspensions, multiple piercings, stretchings, body painting and tattooing were all commonplace and staple aspects of which is now a diminishing or in some cases, a lost Native life.

www.georgecatlin.org

The Enigma of  Myoshka, is as equally revered as he is renowned within both the tattoo and art world alike. Inspiring a generation of practitioners, as well as collaborating with the likes of Thomas Hooper, Tomas Tomas and Xed Le Head, he has earned his name as a Geometrical genius: capable of  boggling the mind and altering planes of vision through tesselative drawings, designs and Gif Files. Hundreds of dedicated followers of his complex style  have shown permanent appreciation through both tattooing and scarring alike, allowing this realm of adornment to constantly have its boundaries tested and pushed forwards. 

SB: How would you define Myoshka?

M: Myoshka is me now. It started off when I was designing stuff and there was a collective of us working. The name was created then with a creative partner of mine at the time. It came from the word Matryoshka; so it was taking about ideas from ideas and a combination of things making the complete entity. Post rationale, I liked it because it was Japanese (laughs). I’ve gone through various transitions from working as an art director, to working as a designer to then doing some freelancing. I’ve been doing advertising for 15 years, but that’s what taught me all the stuff which means I can do the art. At times there’s a little bit of hidden meaning in my work but other times is simply for aesthetic.  At the moment, for me Myoshka is the Geometry. I never use my real name; not sure what that says about me. People don’t really know what I am or what I do: I like that.

SB: So how did you discover Geometry? Was it through your day job, or through the likes of tattooing?

M: I actually discovered it through Tomas; I knew about Geometry and had been designing before, but not in those ways. As soon as I saw his work, I was just drawn to it. There was just an energy between us and we started sharing stuff. It wasn’t a case of him sitting me down and telling me how to do things, it more me doing it on my own and then us catching up. The blog(s) started and we starting sharing things through that. He’s still a big inspiration for me now. Through that I met Xed and it really opened up for me.

SB: Would you say your life revolves around your art?

M: Yeah!  If I’m not doing my day job, I’m doing this stuff: that’s how the Maharishi thing has come about. I’ve met some nice people along the way, like the blog said. A lot of them I’m proud to call friends; I wouldn’t have met Xed if it wasn’t for that, Matt Black… Jondix, even Thomas Hooper. Even though we haven’t met in person, I still feel as if we’re part of the same family. Tattooing is one of those things where it works in a similar way that I do in that it isn’t a job, its the tattooer’s life. So I’ve kind of drawn parallels in that respect.

SB: So what is the creative process like in constructing such complex patterns?

M: It can be any number of ways of working. Sometimes I see old patterns I like that I want to recreate, learn from and then create something new from that. Other times….it depends what mood I’m in. All of the patterns already exist in so many different ways, I just connect the dots. Some nights I’ll work and get nothing done. Other nights, I’ll just keep going or I’ll start something and 6 months later or 8 months later I’ll open that file again and I can see what it was, or what I was starting to get at.

SB: How far back does Tattooing go, within your life?

M: I think my earliest memory of tattoos was when I used to swim in my early teens: I used to train a lot. Every Friday we used to have to share the pool with the public, and there was this old boy and he would come with his full bodysuit and I just thought it was incredible. I thought the concept of it was amazing- Old School, sailor style tattoos- very, very heavy work. After that, it was when I was swimming for the England team, and was ill. They didn’t want me to infect the rest of the team so I had to sit on my own on the plane back to England. This guy turned up; tattoo artist and really crazy character. He was covered; I think they both planted the seed in my mind…

SB: Lets talk about the work you have on your arms; are some of them your own patterns?

M: I couldn’t be as so bold to suggest so (laughs). Its all geometry that already exists; its mainly a mix of Islamic and Japanese work. I got my first tattoo when I was around 15/16; Japanese Kanji, so I stuck with a theme there. Then I got this fella here, from the Soloman Islands… I think they were a few years apart…

SB: Interesting evolution; did Tomas (Tomas) do all of the more recent work?

M: Yeah Tomas has done most of the dotwork; we’re working on my front at the moment, which is one of my designs. Tomas and I learnt a lot during it; I’m still interested in the way that Tattooing works and is applied to the body, and so I can understand more what is achievable to the skin via my patterns; still working in 3-D. I know I have my fun on Photoshop, but applying to skin is not simple in any way. When we started it was a case of saying that we can get this pattern just to wrap, but once I started understanding that the arm isn’t completely cylindrical, then I began to fully understand the complexities. Xed and Tomas are the masters who are cracking this sort of stuff; they’re masters and they’ve dedicated their lives to it.

SB: With this style of tattooing as well as tattooing in general gaining such a larger social awareness, are you happy to see such a progression?

M: Yes; I mean tattooing for me is a very personal thing anyway but I think that its good overall that  its growing: its another art form. But me being me, if everyone was getting tattooed I’m not sure if I would be so attracted to it . It still has a very different reaction socially, depending on where you are.  Rarely do I leave the city, so I don’t get such negative reactions. If I was to go back to Singapore, where my mums from I know her family would have a very different view and it wouldn’t be as acceptable.

SB: I’m always interested when people dedicate their whole body to a specific style. For instance those who have full Geometric bodysuits, but have no attraction to figurative tattoos, script etc. How was it in your case particularly? 

M: For me, this was the work I was attracted to and it’s about the relationship between me and the artist. It’s the art that spoke to me. I remember going through the flash book for my second tattoo, and then bang!- this one from the Soloman Islands hit me; it spoke to me and that’s what I ended up getting, but I had no idea what it was or what it meant. Years later in Amsterdam, a guy in an art shop, fully tattooed, asked me if I knew where my tattoo came from. When I said no, he scurried out the back of the shop and he came back with a big book and said to me that it was what the ancestors used to carve into the paddles, from the Solomon Islands- which was weird for me as my Granddad was from there. I did my selections differently in the beginning, but I changed how I approached tattooing as time went on. For my back I just said to Tas I wanted a dragon, and just let him rip. With Tomas with the last couple of pieces, we’ve been working more collaboratively and we’re learning along the way which is good fun.

SB: Seems like a great co-existence of styles.  I came across one of Iestyn (Flye’s) latest clients who had one of your designs scarred on his face; what was it like to see your work like that?  

M: The pattern that got cut into that guys face’ is one I’ve loved for ages, but never been able to get it right and then suddenly a few month ago I opened up the file again and got it!  I just have the biggest amount of respect for things like that. I didn’t see it being done; I wish he had kept the skin, that could have been my next art project (laughs). Iestyn has done a few of my patterns; a guys hand, face- those are my favourites.

SB: What creative background did you come from, before you began your journey with Tessellations and Geometry?

M: Well I didn’t go to university; I did a B-tec in Media and got my work experience at a Graphic Design company where after two weeks, they gave me a job, which I turned down because I needed to finish my course, but began working there in my free periods. I did 18 months with them after I finished. I then applied for Central St Martins, but didn’t get it in the end- I was absolutely gutted. After doing flyers and youth orientated work for nearly two years, I decided that I’d try something  a bit more corporate, so I went into more grown up Graphic Design companies. While I was there, I taught myself Flash and built a portfolio in it, and I then settled in London and worked up to an Art-Direction level but at that point I realised that digital was all great, but really it was motion graphics which was the next big thing. Not a lot of people could see that then though.  

SB: How significant is dot-work within your art?

M: Well Dotwork is something that I discovered through Tomas’ work and was something he was using to express himself, which I and other practitioners have adopted over time. For me its about the life and the energy, its about that balance of negative and positive: I don’t like it when its too dense, I like it to breathe and for it to have this life.

SB: What do you have planned for the rest of 2012?

M: Well I have the screen prints, so hopefully by June I will have 23 ready for an exhibition, which should be at the Maharishi store- alongside the clothing, and the collaborative work with the brand. I started a project with Tas, which the Tibetan skulls. Tas has kind of done flash for it, then I’m going to render my illustrative version of it, and then we will screen-print those and then Tas will paint the backgrounds. It should be a good year

www.myoshka.jp

An excerpt from Kai War Wong’s beautifully cynical 1994 film: Chungking Express, featuring Bridgette Lin & Tony Leung.