SOL

LONDON

The exploration of their inner demons diggs up the disturbingly horrific psyche to the artists surface expressed in performative and designed creations.


EDITION I ”YOUTH DISRUPTED BY THE FUTURE”


          



What did you do 13MIN AGO?

I actually just came from finishing off a new costume I’m making, so I was doing that. Oh and I had a cigarette.


If you could use one metaphor to describe your work, what would it be?
Outside of the disturbingly horrific psyche, piercing the mind with hatred and violence. Is that a metaphor?


If you hadn’t end up doing performance design, what would have been your plan B?  

I’ve never really had a plan B, there wasn’t really any other option for me to but to do what I do, whatever that is. But I use to want to be a ballet dancer.


Your proudest moment?

One moment that comes to mind was performing live for the first time at Inferno last year. Also seeing my costumes and set on stage for a dance production I designed earlier this year, because I worked really hard on that and it was the first time I felt like I could actually do this.


How would you define your artistic practice?

My practice is rooted in theatre and performance that is guided by allowing emotional pain to be released from its oppression through exploring the inner demons of the mind and expressing them through creation. It is guided by body horror and flesh works, and giving people something that they don’t want whether that be visually through actions or physically through costume.


How does a typical day for you look like?

If I’m having a day of physical creation, it consists of a lot of coffee and a lot of mess. The way I work is mainly by designing through materials, so if I’m making a costume I will create the body of the garment (which is always the longest part), and then throw my design drawings to the side and put all my trust in the materials I’m working with. That could be pouring latex all over the garment (and my kitchen floor), or nailing some wooden planks to the mannequin and hoping for the best. If I’m making my more personal work, I will set up a space in my flat where I can lay down some plastic sheets, quickly tie some things to my body (and call it a costume), and record whatever it is that I’m filming that day.


What it is like to be a young artist living and working in London? What keeps you stimulated?

London can be hard. When I moved here I was so overwhelmed with the level of talent and creativity that exists here, and at first, that can be very intimidating and make you doubt yourself a lot. But I’m learning to navigate that and put that into everything I create. Turning that self-doubt into a healthy competitiveness is a vital skill. Okay, they’re doing that, well I’m doing this.


Do you think it is necessary for you as an artist nowadays to sell yourself as a brand?

The industry is super competitive, so unless you know who you are as a creative and what you individually offer, it can be hard to open doors for yourself or equally have them opened for you if you’re lucky. Having a ‘brand’ can definitely help with that, but a brand in terms of being true to yourself and your vision and being authentic so that people know what they are getting. A brand does not mean selling merch or having a cute logo.


What do you think makes a good collaborartion?

The most important thing when it comes to working with others is respect for their practice and an understanding of what they bring to the relationship. It’s also really helpful if there is a mutual playing field between you both - sometimes you can have differing views or visions and that is never going to work. Having respect for the other person and allowing yourself to learn from them is also very important. Continuous growth in this industry is what keeps you alive and collaborations can be really good for that.


Can you describe your survival kit for the creative industry.

The top of my kit would be confidence; the ability to believe in your work and be your own biggest fan: because it can be really hard to navigate without that. And with confidence, comes more of an understanding of who you are are a creative and it becomes easier to stand up for yourself and allow others to recognise your talent. But you have to know it first. I would also chuck in A LOT of patience.


How would you define originality today?

I don’t think there are a lot of people who are original at all, myself included. We live in a creative climate where most things have been done already, so it’s impossible to be ’the first’. Authenticity is the new originality - using your own unique voice and vision. As long as you do that, there will be no-one making work like you.


Do you believe in the saying “fake it until you make it”?

100%. Everyone is faking it.  


What do you feel the creative industry is lacking?

There’s a lot. Accurate representation, Platforms for Black Trans+ people, Equal opportunities for working class creatives, Opportunities for black creatives, Queer people being credited when cis straight people steal from them, Being paid. The list goes on.