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City Of Colours Winter Showcase // The Revolution Will Be Merchandised

I’ve been saving this post for a while now as this project has really grown in scale and I’m pleased to see that the concept has evolved and developed as far as it has. This project is now going to become a model for my future escapades as it encompasses everything I’m trying to achieve with my work.

This design was initially created as an avatar for my musical exploits under the alias Terrorbyte, but was switched up to become the inspiration behind a print for, and what I wanted to paint at, the City Of Colours Winter Showcase on December 6th last year.

void one - facebook teaser mechanized

I’ve been researching war propaganda posters from the first and second world wars for a series of satirical posters using the tag line ‘The Revolution Will Be Mechanized’. I love the track by Gil Scott Heron called ‘The Revolution Will Not Be Televised’, especially line about there ‘being no re-runs brother, the revolution will be live’.

In Gil’s lyrics, the revolution will not be brought to you by xerox, or taste better with coke, you will not be able to plug in, turn on and cop out. For me, the heart of Gil’s message is that true social revolution comes from inside the individual, it’s down to you to manifest the changes you want to see in the world. The revolution isn’t out there waiting to happen, it’s your responsibility to mobilise yourself to live a more conscious existence. It’s not something you can capture on film or sell as a commodity, it’s a thought process, and it’s only when enough people embody such a paradigm shift that revolution in a more broad context can occur. It’s small changes in the way you lead your life at grass roots level that make the most difference to local communities and the world at large.

This message could not be more relevant than in today’s climate of shallow, catchphrase, PR politics from millionaire career politicians who are scandalously out of touch with the general public. Advertisements abound with platitudes from companies and governments promising to make your life better, to solve the most inane of first world dilemmas with a value system that is preoccupied with possessions and the social status they project. I’m not railing against people having nice things, but the best things in life aren’t things and it’s important to keep that in focus.

The revolution will be mechanized is meant to satirise the notion that we are now slaves to our devices and that our devices have come to define us. It represents a dystopian vision in which humans have become mindless automata under the governance of an oppressive system, one that has coerced us to embrace technology as a means of liberating ourselves, whilst actually placing us in perpetual slavery to our upgrades and the debt that results from our misplaced desire to own the latest models.

It is with this concept in mind that I produced the above prints for City Of Colours. The robot head was coloured and I added a few simple shapes to make it look almost like a badge or medal. The triangle design is my new logo, I’m thinking of using it like an abstract signature for my work in general. Now I just had to paint it.

Once again, I was lacking any meaningful amount of sleep due to all the last minute tweaking and preparation. I don’t know what it is, but I never finish a project with any real time in advance. I need the pressure of an impending deadline to motivate me to make often hard or drastic decisions about where something might be heading. I never miss my deadlines, and sometimes it annoys me in retrospect that I could have spent more time on finer details, but I find that so long as I have a solid concept before I start, such pressure often leads to moments of frenzied production and moments of inspiration, circumstantial happenstance, or unplanned yet happy accidents.

So, I arrived bright and early. If I remember correctly, I had spent my last £20 on paint and had no cash for emulsion for the background. I thought the black sprays I had would cover the boards I was painting with some to spare, but this was yet another schoolboy error I should have learned at the main festival a few months earlier. They did just about cover the background, but it was by no means a solid colour and I think it really let the piece down. Again I went with using a mixture of stencils, masking off areas with tape, and hand drawn / sprayed details to throw up the image. I worked much more quickly this time for two reasons. Firstly, there wasn’t a bar right next to me and far less people knocking about to distract me. Secondly, because I had given myself a real headache as far as how much work was really involved and how much could be done in the dimming winter light. The plan was to get the main image up and then spend any spare time working on tightening it up and maybe do some sort of border to frame the image. In hindsight, I think I was lucky to have enough light to get as far as I did!

It was a little while later that I revisited this . Before even thinking about the print I had created a few simple logo designs featuring the mech head artwork. It was from these initial ideas that the print had evolved. I tried a few designs on T-shirts to see what they would look like and decided the ones below looked the sharpest. At the time I didn’t really have any plans to move forward with production, it was still very much wishful thinking, but I went with three really simple visualisations.

I posted them to my Facebook page to see what the response was and the whole thing just blew up! It was clear from that point that this was something people would wear. In an ironic twist the revolution will be merchandised too, and this sits nicely with the whole theme. After seeing a few other crowd funded projects cross the line recently and some friends recommending Kickstarter as something to look into, I decided to give it a try. I had nothing to lose! The general response was that the red triangle artwork was the strongest, and after pricing up the order, I was confident it would be successful. So, I ran a campaign to print the artwork on some T-shirts & hoods. I couldn’t believe it, the project was funded within a couple of hours! Thank’s to everyone for backing the campaign! Everyone wins really as the artwork will look sweet.  I’m loving the concept of crowd funding, as it demonstrates there’s backing for projects before you waste your time and money.

Mech Tee FINAL resize red

Something I really like, and hope to expand on more, is how this process gives me the capacity to custom tailor people’s orders, colour combinations etc. I’m definitely going to be running more of these campaigns. The reward system is perfect for offering different products and a really easy way to update people about the process. I like being able to show a few designs to people and see what works best before committing to anything. I’ve decided on a policy of only running one campaign at a time, as I want the quality to be high and I don’t want to bombard people with too many products all at once. The T-shirts will be ready and shipped out next week. I have been able to press up a couple of spares but they are virtually gone. I did 30 in total, so that’s been a great success in my mind! I’ll update this site to include some pics in due course, but these are some of the other visualisations.

Check out the campaign page @ https://www.kickstarter.com/projects/609532185/void-one-classic-tee-shirts-hooded-sweaters

So, more Tee’s  once I’ve shipped this project off and I’m thinking about a three colour stencil from the layered artwork I used for the T-shirt screens. I want to throw loads of these around, maybe some stickers. I want to try to keep re using all the bits of work I’m producing and test out a few different mediums, in the same way I have been doing with my Tetsuo work previously. The summer is fast approaching and I’m booked for a few paint jams, including this years City Of Colours and Big Noise. Good to be able to sign off another chapter for this piece though. Shadow Work is finished and will be coming soon, one of my most challenging works to date.

Void One_

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City Of Colours // Cartography & The Samurai Sword Saint

I’ve covered a fair amount of my background in my first couple of posts, but it’s over the last 8 months or so that both my production and style have really kicked off. I think the first noticeable leap forward came when I was asked to get involved with Street Art Birmingham again to paint at the pilot of their City Of Colours Street Art Festival last summer.  It was shaping up to be something really positive for the city, so I jumped at the opportunity to get involved. I don’t really know what I was thinking, I’d never tried anything like this before. I’d hardly painted anything in 10 years, let alone in front of an audience at what ended up being one of the biggest paint jams in the country that year. I was initially asked to paint at the festival, but also volunteered to produce a series of maps to be used to direct people to the huge array of activities, venues and artist locations for the event.

Void One - City Of Colours Artist Location Map
City Of Colours Map © Void One 2014

I’m really proud of these maps, they broke my mind with the hours I spent on them! Again, I had never done anything like this before. I’m ashamed to say, that after 15 years using Photoshop, I hadn’t really bothered with the pen tool. So, I painstakingly mapped a good portion of the city centre and the Digbeth area, plus a floor plan of the Custard Factory complex that was acting as a base from which to explore the festival. It was incredibly difficult deciding which roads to keep or omit and what were the quickest and simplest routes from the city centres transport facilities. I’ve mastered using the pen tool now!

An affordable art market was planned, so I started a few images with a view to getting them printed and sold on the day. Work on the maps took much longer than I had planned, so I focused on finishing the print I was going to use as a template for what I would eventually paint. I’d had success with a few mech samurai designs and it was a theme I wanted to explore more, but I’d never produced one digitally. The result shocked me. I had, in my mind, never produced anything near this quality. I was now really excited about the festival, if not slightly terrified of the prospect of trying to recreate this live.

Samurai Sword Saint - 2014 © Void One
Samurai Sword Saint – 2014 © Void One

A plan was needed, fast. I decided that the best thing to do would be blocking out the odd key area of colour, some with pre-created stencils, some by masking areas off with tape, and the rest hand drawn with acrylic pens or painted freehand. I figured if I applied the same processes I use in Photoshop to the painting, I should be fine. I had no idea how long this was going to take, I’d only finished the print I intended to paint two days before the festival and I had a ton of prep to do. I had no time for a test run as the festival was fast approaching. I was exhausted, having spent much of the two weeks leading up to the festival working to the point of virtual collapse.

A last minute rush of adrenaline saw me arrive at the festival bright and early and a series of triple espressos helped me navigate the process of obtaining my paint. My home for the day was in the car park of The Old Crown, the oldest secular building in Birmingham. Beer was on tap, my mates from Brum Town and Jam Hott were arriving to provide the music, the sun was shining, I was high on caffeine and sleep deprivation, this was going to be a laugh!

Schoolboy error, not the best start. I’d decided to fill in the background using sprays, but faced with the size of the space I had to paint [8 x 8 feet], I realised I didn’t have enough and I had no cash to buy more. Mild panic ensued. Some of the other artists were arriving and thankfully I managed to blag some spare black acrylic and a roller from a very generous Miss Wah who was painting opposite me. I figured so long as I painted the face really well, I could abstract the rest of the body and it would still look ok. Whatever time I had left could be spent adding as many details as I could fit in.

I’d chosen a great spot right next to the beer garden and after being consumed by painting for a couple of hours, I looked up and the venue was heaving. People were enquiring about my painting and I received some great feedback. I had a few pints kindly brought for me and soaked up the atmosphere. I was loving this! I probably did a little more chatting than I should have, but it was impossible not to get wrapped up in proceedings.

A couple of no more than 10 year olds took over the decks with a stack of their own vinyl in tow. They absolutely smashed it in front of an astonished crowd, myself included. It’s moments like this that really made the event stand out for me, it was incredibly inclusive. There were three generations of families milling about happily, no matter their colour, creed, or roots.

Void One - City Of Colours 2014 - Samurai Sword Saint 2

The light was fading and I had to be at work imminently. It would be 12 more hours before I had any hope of sleep! I was working at a venue right next to the festival, which was really handy! I finished at 7am and headed back to the site to check out my work having not really had any time to take it all in, plus the light towards the end had made it difficult to see properly. At first I hated it. A typical reaction to something I have just created. I took some photographs and proceeded to head back to my studio to die. The next day I had the terrors, but I was still buzzing and thankful that a few people had captured some better snaps than me.

Something I have learned for the future is to try to stay more focused on throwing the painting up early with the live stuff so that by the time people arrive, I’m just filling in details, and there wont be so much pressure to finish. I wish I’d had more time to include the hand holding the sword, but generally speaking, I’m really pleased with how this turned out! It wasn’t perfect, but it was certainly unique! It was my first painting for a decade, so I wasn’t about to destroy myself over it, and I now had the paint bug back! From this project onward I began to find it much easier to translate my ideas to an end product that I’m happy with. I am much more confident because of this experience, and it was one of the best events I’ve been to, or been part of. I’ve felt for a very long time that Birmingham was under-rated and had more to offer than just curries, canals, and faceless chain store shopping experiences. Birmingham represented in full force that day, so respect to the team behind it, all the artists, and of course everyone who made it down to be part of a phenomena I hope continues long in to the future.

I’d set the bench pretty high for myself now and I felt compelled to do more artwork. I wrote a list of images I wanted to tackle and projects I wanted to get started on, but they can wait, for now.

If you’d like to see more, I managed to get a cheeky mention in this article for the Huffington Post which is a great write up of the broader event. Else, don’t forget to check out the City Of Colours website for news about their plans for 2015.

http://www.huffingtonpost.co.uk/olly-macnamee/birmingham-city-swimming-in-colour_b_5793190.html

Void One_

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Tetsuo – The Mandlebrot Mech // My Early Work

My earliest finished pieces were graffiti. I have no pictures really, other than a bunch of outlines and a couple of mech inspired sketches. I would love to see my early work again, though I probably overestimate it’s quality in hindsight. However, it was these early experiments with graffiti that set the foundation for all my later work.

Void One - Ghetto Blaster
Ghetto Blaster – © Void One 2005

It has been a long standing practice to get an image to the outline stage, then photocopy it for inking and colouring. It’s a confidence thing, it gives me a chance to experiment a little and I can always ‘undo’, something I have become accustom to as a safety net from my digital work. As a side note, I often find myself internally commanding undo in real life instances, if only. So, I had a bunch of photocopies of my graff outlines. I was bored at work one day and began to cut up my copies into small pieces of mech. I began to glue them together to form these strange shapes, Tetsuo was born.

Void One - Tetsuo Mk1
Tetsuo Mk1 © Void One 2006

I called the work Tetsuo because as the robot blob evolved, it reminded me of one of my favourite manga films, Akira. In particular, the end scene where Tetsuo becomes Akira, looses control and goes nuclear.  As Tetsuo attempted to regenerate his failing body, he mutates and his form is suddenly thrown into chaos. I was studying philosophy at the time, specialising in philosophy of science, and was fascinated by the principles of chaos theory. Put simply, chaos theory holds that even in the most simple circumstances, under which we know every detail of how a system will behave, such a system still has the capacity to behave unpredictably.  This principle is encapsulated in the Mandlebrot Set, or fractal patterns. In a fractal, even very simple patterns, when repeated to infinity, create an emergent complexity. So, I took my simple pieces of mech graffiti and repeated them many times to give rise to an emergent complex mechanical form. A form from which I drew parallels with the mutating globules of flesh that Tetsuo became before his ultimate demise.

Void One - Tetsuo Vs The Nebulae
Void One – Tetsuo Vs The Nebulae © Void One 2011

I liked where this was all going, and I began to make more bespoke pieces of mech to incorporate into the chaos. Tetsuo Vs The Nebulae became my first commissioned piece, and I now had a system of templates that enabled me to quickly knock out images, aesthetically pleasing to the eye, yet still looking raw, with plenty of splattered paint for good measure! The photocopies got larger and larger, and so did the pieces, so I took my work back to the street for some wheat pasting. Yes, that is my can of Red Stripe.

Void One - Tetsuo Street Apparel
Void One – Tetsuo Street Apparel // Brick Lane, London, 2009
Void One - Tetsuo Street Apparel
Void One – Tetsuo Street Apparel // Digbeth, Birmingham, 2011

It’s interesting, because the strides forward I have made over the last few years aren’t wholly down to me, per se. I feel more a victim of circumstantial happenstance than anything. I travelled to India, not to find myself, just by invitation, but I did discover something about myself on the beaches of Goa and the temples at Hampi. Seeing the gap between such abject poverty and opulent wealth living side by side in Mumbai was shocking, but the more I travelled, the more I saw that many of the people I met, who had absolutely nothing, were still seemingly happy. After a week or so, my hyperactive inclination to always have to be doing something subsided. So, on a beach in India, I watched the dolphins and sat and I sketched, for hours. I rediscovered that I really didn’t need much more than my creativity to be happy, and that my creativity was one of the few things in my life that had true value. Something that has stuck with me to this day.

Kali - Goddess Of Time And Redeemer Of Souls
Kali – Goddess Of Time And Redeemer Of Souls © Void One 2010

Upon my return I set up Beta Birmingham. A record label and media outlet I conceived to “diffuse twisted barrages of nefarious bass glitches and stuttered syncopation from the Midlands elite electronic producers”. I wasn’t happy back home, but rather than sit and moan about what was lacking in my home town, I wanted to be proactive in being part of the solution. It’s no good moaning about something that’s missing, if you aren’t prepared to do something about it!

Void One - Chemical Coercion
Chemical Coercion 2014 © Void One / Beta Test Records

I was getting much better at my digital work and releases on the label forced me to meet deadlines, something I had always struggled to do. It was at this point that I began to experiment with creating more obvious forms such as my Binary Mechanoid Chaos piece, meant to represent the duality of nature, chaos, the Yin Yang. I don’t think I have, as yet, fully explored this style, but for now I needed to switch things up. I was fully back on the artwork, with renewed vigour, and I felt that just copying and pasting my old work together, whilst creating something new, was not very progressive.

Void One - Binary Mechanoid Chaos
Binary Mechanoid Chaos – © Void One 2011

My album artwork was getting some attention before long and I was asked to take part in an exhibition for Street Art Birmingham, at which, all the artists worked with broken and used skateboards. I had only ever exhibited my work once before! This time out I was going for characters, for some reason I decided on Samurai.

Void One - Beta Skateboard // Street Art Birmingham
Void One – Beta Skateboard // Street Art Birmingham 2014 © Void One

By no means prolific, samurai mechs became my thing. I still wince away from looking at many of these images, as they feel really dated. In samurai I became fascinated by the concept of honour, but that’s another story. It gets much more interesting from here …

Void One_