Posts Tagged ‘Arthole’

Matt Dickson

Dalston Superstore and ARTHOLE LONDON are thrilled to present ‘If I Paint You Enough Will You Stay’, the debut exhibition of London-based painter Matt Dickson. We sat down to find out about what inspires his beautiful, melancholy work.

Who are you and what medium do you work in?

I’m Matt Dickson and I am a painter.

Who was the first artist who mesmerised you when you were young and what work specifically caught your eye?

I remember seeing Warhol portraits in an art book when I was young and thinking they were the greatest thing I’d ever seen. I always preferred the ones of Elizabeth Taylor to the Marilyn. All the black hair and dark features, then all this bright colour. So quick and simple to take in. I think about that a lot when I’m working. I’d like my portraits to be that instant.


What training have you received in your chosen medium, if any?

Well I didn’t go to uni and I had always regretted that. I think maybe I would have more of a sense of what I’m doing, but I’m kind of over it now. I like that I’m developing my skills as a painter while I’m making stuff that feels really important to me. My style has grown a lot in the last two years. I try and paint every day, even if it doesn’t amount to anything, just as an exercise.

What’s your favourite piece of your work in exhibition with ArtHole?

I’m proud of ‘Dreaming.’ I like the shapes in it. I really love ‘Bathroom Selfie 2″. That’s one that I always come back to if ever I’m a bit lost or uninspired. It’s literally a picture of myself crying on the bathroom floor. It turned out exactly how I wanted it to in my head.




Bathroom Selfie 2

What would you change about the current art world?

I don’t really know anything of the art world. This is a very small operation. I’m just painting in my bedroom. This is all really new to me. I’m sure I’m about to come across a thousand hurdles but you can’t just relax all day and reap rewards. I’m willing to work hard.

What do you aspire to?

I just want to keep painting and make more work that’s important to me. Now that I’m starting to show my work in public spaces, people are reacting to it and I’m having to think about who it’s for and what the work is saying to people. I don’t want to let that influence what I paint. It’s not really for anyone else. It’s a way for me to work through things and understand myself and the people in my life better. I make paintings for the man I love so that he feels loved.

I’d also like to continue to explore self portraits. It’s where we’re at right now as a culture. Creating these micro versions of ourselves and our lives that fit onto this tiny screen. I’m interested in what that does to your self and who you think you are. I get more out of painting myself than posting a selfie. Although I’m not sure which one is more narcissistic?  

What music do you make your art to?

I always have Jasmine Sullivan’s ‘Reality Show’ album on repeat. It’s good for feeling heartbroken or pissed to. Oh and her song ‘In Love With Another Man‘, I’ll play that 40 times in a row, singing at the top of my lungs while I paint. I need dramatic pop songs about love when I work. It’s more singing than painting most of the time to be honest.

Describe your working process for us?

I usually start with a title or just bits of writing. Then images in my head will form from that.

I use a lot of photos from my phone as well. I recreate a lot of photographs. Adding or lifting the colour up. Then with your own hand you can manipulate the image and make it something else. It’s the same with the title. For me it’s half the painting.

What was the last thing that moved you to tears? 

I’ve been riding around on my bike listening to the Bjork album Vulnicura just sobbing. It rips my soul apart. Having emotional meltdowns at the traffic lights.

Catch Matt Dickson’s If I Paint You Enough Will You Stay at Dalston Superstore until early December. 


five minutes with Stefan Fähler

Dalston Superstore and ArtHole London are thrilled to present Gegen Identity, a retrospective of freelance art director and illustrator Stefan Fähler‘s poster work for Gegen Berlin. Fähler has designed gig posters for the likes of Ariel Pink, Baths, Death Grips, Mykki Blanco and Mogwai, and shown work in publications, exhibitions and festivals around the globe. Gegen is a complex word in German – it has two opposite meanings. Historically speaking it means “against” – signifying all the counter cultural movements since the very beginning of youth cultures, but if you apply the word to time, it means “around”. One meaning is closed, defined in terms of space. The other is open and undefined in terms of time. We sat down for a quick chat ahead of his latest show at Dalston Superstore.


Who are you and what medium do you work in?

Hi I’m Stefan and I make posters.

Who was the first artist who mesmerised you as a young person, and what specifically caught your eye?

I was obsessed with the Alien by HR Giger when I was a kid.


What training have you received in your chosen medium, if any?

Learning by doing, I am all self taught.

What’s your fave piece of your work on exhibition with ArtHole?

All equal

 In an ideal world, what would you change about the current art world?

Throw out all elitists.

What do you aspire to?

Woah, my aspiration in life … would be … to be happy!

gegen identity at dalston superstore

Tell us a secret about yourself.

I am secretly 80% water.

What music do you make your art to?

The bands I work for, anything that moves me.

Describe your working process for us.

I work intuitively, fast and make sure I enjoy what I am creating.

What was the last thing that moved you to tears?

A stupid eye infection.

 Catch Stefan Fähler’s Gegen Identity at Dalston Superstore from 31 March-21 May. 

arthole presents: self-memory-system

A solo exhibition by
Emma Rudge

Exhibition opening
Wednesday 27th January

‘Self-Memory-System’ is an ongoing project exploring the idea of narrative identity or the constant reconstruction and editing of memories. A body of work that illustrates and defines a notion of constructed autobiographical narrative, our edited self that both informs and is informed by our aspirations and character.

The work varies from intricate digital imagery to drawings developed through the same creative method. Rudge, uses the computer as a brush and paints with photographic imagery creating delicate and beautiful digital images. This show illustrate her philosophical discussion of her most recent projects, the examination of the construct of our memories.

‘Memory is subjective and the act of remembering is influenced by our desire to project a coherent story of ourselves; a revised version of our experience that fits with our present perceived identity. We all create memories, shrines in our mind to past relationships and encounters. These are shadows; they are not the reality of the person we once knew.’

Join us for the opening party on Wednesday 27 January from 6-9pm, followed by Uncontrollable Urge

Aphrodite Papadatou – Girls Girls Girls

Ahead of the latest Arthole exhibition launch, curator Morris Monroe chats to artist Aphrodite Papdatou about the personal, the political and everything in between!

Who are you and what medium do you work in?

My name is Aphrodite Papadatou, I am a woman.  I am a Londoner, I am an Athenian,  I am a passionate citizen of humanity. I am inspired by the places I live and by my friends and lovers. I am an artist. I like to experience the physical.  I increasingly feel the need to express who I am freely through my art. I like to record my impressions of people. 
Currently I am a painter and I mostly use acrylic paint on canvas board (I like pressing against hard surfaces), although I find increasing fulfilment and joy in my experimentations with mixed media printing techniques – dry point, mono drawing, photo transfers – usually all done together in one unique piece. 

Who was the first artist who mesmerised young you, and what work specifically caught your eye?

The first piece of work I remember being mesmerised by is Guernica by Pablo Picasso.  Mine and my sister’s father (also an artist) owned a gallery in Athens bearing that name and there was a reproduction of the painting at the entrance – therein lay the well known Minotaur of the Guernica bombing. It is a most powerful anti-war image that imbued strong convictions in me.  I come from a bohemian and anarchist family – my father a political activist in turbulent times in Greece.  This image is part of my heritage – and a very topical one at that.  

What training have you received in your chosen medium, if any?

I am a self-taught artist. I am not sure I see the process of learning how to make art as a training process, although of course that is all down to semantics! I see ‘training’ as learning through experience, and you either have a passion for doing it – an all consuming urge to make things – or ‘puke art up’ as I say – or you don’t.  I do, and this became very urgent for me when I turned thirty-ish.  Previously I had had ‘training’ in both printing and painting techniques during my ‘A-levels’ and doing an foundation in Central Saint Martin’s (I quit and studied history and politics at university).  So I dropped out of ‘training’ only to return back with the fulness of my force just over two years ago – and here I am! I have so much to say through my art, and it only becomes stronger!

What’s your favourite piece of your work on exhibition with ArtHole?

I like Remember This – with the stripped girl with hosiery and high heels, the gas mask and rope. It is full of symbols that were crucial to me at the time of is making.  It has also been featured in a feature film  which was recently at the cinemas, together with other works of mine from my London Anarchy series.

In an ideal world, what would you change about the current art world?

All the stuffiness of the ‘haute’ art scene – art takes many shapes indeed, but for me it is really important that it stays raw, evocative, and able to connect with people in a physical and spiritual way. It distresses me how street art, for example, in many western art capitals – has lost the edge it had.  You see street art covered by perspex now, right?! I want the art world that rules the markets to rethink this – to democratise art again.  There are many cities now, including my home town of Athens, where crisis has meant that art IS the only way of expression.  There walls are filled with wonderful murals full of substance and energy.  In London we still have it East – but the increasing rents and expensive living in London are driving artists out…. Something needs to happen soon!!

What do you aspire to?

To remain good and kind and adventurous and loving; to never slow down my thirst for learning and experiencing other people’s bodies, souls and wisdom.  I aspire to remain human!! And I want to inspire everyone I meet with humanism and humanity.

What music do you make your art to?

Anything that draws my mood on the day! I have an eclectic taste from old punk, metal, indie, classical, rock and roll to Greek blues and native South American music. 

Describe your working process for us. 

I paint people – my muses.  Those that I have a spiritual affinity with.  Keeping photographic records of my muses is the first integral part of my creative process, as is internalising the experience of our interaction – whatever that experience becomes!  I usually sketch the images and compositions and finally transfer them to canvas – if I am painting.  I have obviously different processes for other media I use, for example my mixed media printing process is very ad hoc and free and it focuses on the satisfaction I get from the tools I use to create it – the process of printing unique images – painted and etched on plates – using manually operated intaglio precess, the pleasure I have when I etch plates and scratch in marks on smooth surfaces, the sheers experimentation of the analogue, mono printing technique. The silkiness of the Somerset heavyweight paper I use….Beautiful! Lush. am quite anarchic with my processes generally, whatever medium I work on, but there is method in the madness!

What was the last thing that moved you to tears? (or just moved…)

 The handling of the debt crisis in Greece by the EE oligarchs after the democratic referendum in late June.  The whole situation made me both angry and tearful in equal measures – mostly tearful of people’s defiance and strength on very compromising everyday conditions. But also so touched by the love and amazing energy people sent – my friends and strangers from back in the UK and other countries….So wonderful, so absolutely touching! Humanity and defiance moves me and softens me.  Inhumanity and ruthlessness makes me angry and fierce.  Injustice to moves me to tears of pain. Love – giving it and receiving it unconditionally – moves me to tears of joy.

Join Aphrodite Papadatou at the launch of Arthole Presents: Girl Girls Girls on Thursday 30 July from 6pm.

Arthole Presents: Girls Girls Girls

Girls, Girls, Girls
A solo exhibition by
Aphrodite Papadatou

Exhibition Launch Thursday 30 July  6-9pm
Dalston Superstore
117 Kingsland High Street, E8 2PB 

‘If she runs now she’ll follow later,
If she refuses gifts she’ll give them
If she loves not, now, she’ll soon
Love against her will’
– excerpts from ‘Glittering-Minded Deathless Aphrodite’ by the ancient Greek poet Sappho of Lesbos

GIRLS GIRLS GIRLS is a war cry – a shout of liberation from chains of all kinds: physical, psychological, social; chains of the body and the mind.

Depicting the journey of a woman, Aphrodite Papadatou is an artist in the making and her work is her rite of passage, her coming of age. This show is an early retrospective of Papadatou’s interest in the female form – represented as strong and vulnerable, but always resilient and free.

All these women are me, they are you, and they are both the men and women I have loved.

These images represent the progress of the human soul, and the innate femininity of our emotional make-up, regardless of sex or orientation. Papadatou’s work is a visualisation of our emotional pain, happiness, and the extremes of consciousness manifested through sexual liberation. 

Aphrodite Papadatou is a London-based Greek artist characterised by prolific imagination, tantalising sensuality, and a remarkable ability to bring to life irreverent, maudit characters. Papadatou’s expressionistic oeuvre depicts figures whose tormented, consumed physicality and twisted, convulsive limbs are reminiscent of Egon Schiele. Eyes burning with emotions encompassing resentment and lust are imprints on canvas of the artists’ friends and lovers, documenting fetishes, subcultural community and sexual and social identities.

Art work from the show will be available to buy via WWW.ARTHOLEARTSHOP.COM from 30 July

Morris Monroe

For the next Arthole exhibition we welcome the brains behind Arthole, Morris Monroe, who brings his own solo show to the walls of Dalston Superstore. Ahead of tonight’s Private View we caught up with Morris to find out more about his inspirations, technique and training…

Who are you and what medium do you work in?

I am Morris Monroe.

I am captured in my art.

My thoughts, my ideas, my questions and understandings. These are my hopes, my fears, my memories and meditations.

I am finding my way through life, creating a documentary of images, diary entries, visual statements, status updates, replacing text with colour, geometry and images of self. Within the limitations of this new language.

I have found a way to communicate.

I am the frequency of colour, the line, the form, the space.

I am the movement and action.

I am the image.

Who was the first artist who mesmerised young you, and what work specifically caught your eye?

Egon Schiele’s approach to the figure and expressive. J.M.W. Turner for his depiction of energy and description of movement.

What training have you received in your chosen medium, if any?

I draw my inspirations from my understanding of fine art Masters, their essays and words, resulting in contemplative and emotional expressions. I assimilate art as the fullest part of my life and with no art school training, I aim to explore my own development with the enthusiasm, drive and confidence of the great artist I am inspired by. Being prolific with my output of work which is as deeply considered as the essays and books I currently study.

What’s your fave piece of your work on exhibition with ArtHole?

Duality in Space.

This piece of work asserts a contemplative approach from the viewer. It is also a piece which shows the development of my exploration of techniques and processes within the thematic continuation. It acknowledges a very masculine energy and I have tried to achieve the perfect balance between the two masculine forms. It is both the analytical and the expressive, the intuitive and the logical, the physical and non-physical. In the exhibition each individual statement within the show captures a moment, a perception. I hope that the thoughts and emotions of the viewer travel with the work through the dimensions of conceptual landscapes.

In an ideal world, what would you change about the current art world?

I would like to see it be less of an institution.

What do you aspire to?

Evolution. My fullest potential.

Tell us a secret about yourself.

I only started painting last year.

What music do you make your art to?


Describe your working process for us…

I use drawing as a cathartic medium to express experiences which are personal as well as universal. Through my work I am exploring the discernment of life, through which I hope everyone can identify; light and darkness, positive and negative perceptions, the journey of the self, philosophies on spirituality, contemplations on reality. My approach to the two dimensions of canvas is to construct the space in a way to affect the feelings of the viewer, and connect with the higher states of sensibility. My work encourages contemplation and meditation to reveal statement and concepts which are encoded within the work. I aim to address the physical and the astral, the emotional and the vibrational, the masculine and feminine universal energies, the intuitive and a logical, expressive and analytical. I have an idea to find true harmony and balance between the workings of both.

Through psychological regression techniques I connect with my emotional memory; this guides my figurative work. For the abstract work I use a technique I have called “composition in the fifth dimension”, the fifth dimension in this instance refers to the vibration of emotion. I use gesture, geometry, colour, position, movement, energy, expression, form.  This is my outsider approach to the formal elements. The work speaks  in a language that cannot be taught but rather is felt via understanding one’s own inner truth. It is a language that is understood intuitively.

What was the last thing that moved you to tears?


Join Morris tonight for the private view of new Arthole exhibition Essence Of Self at Dalston Superstore from 6pm – 10pm.

Essence of Self

Essence of Self

An exhibition by Morris Monroe

Private view 28th May 6-9pm

Dalston Superstore

117 Kingsland High Street, E8 2PB

The ‘Essence of Self’ exhibition’ presents a new visual language which has emerged from a fresh understanding of the formal colour, shape and composition. This approach asserts a contemplative approach from the viewer. A series of work is presented which follows the development of the artist’s exploration of techniques and processes within the thematic continuation. 

Monroe’s style acknowledges both the masculine and feminine energies and his discernment is to find the perfect balance between the two. He engages with both the analytical and expressive, the intuitive and the logical, the physical and non-physical.

Each individual statement within the conversation captures a moment, a perception and fragment of a fractal. The thoughts and emotions of the viewer travel with the work through the dimensions of conceptual landscapes, each destination reveals intuitive vistas that engage the imagination.

Art work from the show will be available to buy via from May 28th


ArtHole presents

The first solo exhibition of painter artist Bj Broekhuizen

Music by Gallak


01.04.2015 – 05.05.2015

Raw, brutal, rough; his works are pure depictions of flesh and fibers, muscles, skin and life force. Paintings with a subconscious sexual, male, powerful, energy.

The concept of the ‘MAN’ exhibition is about lost identity. Considering the perspective that the ‘MAN’ is losing his position in power and the current body dysmorphic image which is running strong in men. We are surrounded with the mass media’s idea of masculinity and the social structures of today’s society. As men, you need to fight a battle with your own self and identity, if you´re not strong enough the stereo-types will swallow you alive and spit you out like recycled material. There is a war being fought and this exhibition seems to document both the soldiers, the heroes and the wounded.? 

“I think having a battle with oneself on a daily basis is part of growing and developing, it’s to me a constant fight of ideas and perceptions. I often call my brush my knife, my weapon.”?

Bj paints in a very intense way, with both extreme force and strength and also showing unconscious personal feelings.? ?

“I have been trying to develop the portrait paintings into something stronger, the features will be scraped down and little visibility of the face. A portrayal of the concept of mass identity, the individual which is being lost in the modern world.”

The lost identity of MAN.? ?

In recent months Broekhuizen has made a transition in his work, slowly moving into something more figurative, with a strong reference to the organic form, muscle, blood and veins. “It’s about stripping back the layers of flesh.”?

His work is an impression, as if in a state of not knowing, presenting the human form as central to his art through a distorted perspective.? ?

Colour is another weapon in the artists’ artillery. He uses seductive colors to create and intimacy with the viewer as we join him to watch him dissect his men. Then he contrast this palate with the use of pure energetic colours to empower and enrich the spirit of MAN. A conversation from two perspectives and we the spectator can arrive at our own conclusion.? 

Bj Broekhuizen

This Wednesday as part of the next Arthole exhibition, we welcome South African-born, London based Bj Broekhuizen for his solo show MAN. 

“Raw, brutal, rough; his works are pure depictions of flesh and fibers, muscles, skin and life force. Paintings with a subconscious sexual, male, powerful, energy.”

We caught up with Bj to find out more about his roots within art and about his challenging and beautiful paintings ahead of the private view…

Who are you and what medium do you work in?

My name is Bj Broekhuizen, I was born in Cape Town, South Africa but I’ve been living in London for the past 13 years. I’ve slowly been making the transition from working with inks to oil paint, I’m finding the oils being a more raw brutal medium to work in preferred to the fluidity and softness of inks.

Who was the first artist who mesmerised young you, and what work specifically caught your eye?

Learning about Picasso at an early age in art class, and my mothers obsession with Paloma Picasso as a teenager, his name stuck with me all these years. Guernica is definitely my favourite, so much violence and chaos, it really excites me.

What training have you received in your chosen medium, if any?

My mother started taking me for extra art classes from a really young age at around 10-11, and that continued through out my high school years. I did a three year Textile & Design course as part of my school programme from age 16-18. I did my BA in Menswear for three years after school at the Cape Town Technicon with a successful end of year final fashion show. I got offered a job as Head Visual Merchandiser Menswear for Harvey Nichols in London straight after my show and packed my bags for London in 2002. I was at Harvey Nichols for seven years till 2009 when I decided to resign and start my art career which I have been doing now for the past six years.

What’s your fave piece of your work on exhibition with ArtHole?

King (51 x 76cm) oil on canvas, the name says it all.

King by Bj Broekhuizen

In an ideal world, what would you change about the current art world?

Make it less political and more about humanity.

What do you aspire to?

I think that enduring, committed love between two people in a relationship, is the most noble act anyone can aspire to. It is not written about very much.

Tell us a secret about yourself…

I have tattoos in unexpected places!

What music do you make your art to?

Ray LaMontagne, Damien Rice, Perfume Genius, Marilyn Manson, Portishead, NIN, the list goes on… I have an eclectic music taste.

Describe your working process for us…

I was approached by my best friend who knows Morris from Arthole and we set up a studio meeting and selected a few pieces and named the show Man. The following body of works was created from the selected pieces as main influence, It has been a very organic beautiful growth process for myself as an artist and a person looking at my own work and developing ideas and concepts further. Constant communication has been a vital part of this process discussing which pieces will work or developing certain ideas further. The past four months has been a creative high working with Arthole creating this show from start to finish and I am excited to unveil this to the public and press.

What was the last thing that moved you to tears?

Saying good bye to my boyfriend as he was leaving on a work trip to Asia.

Join Bj Broekhuizen for the private view of his new solo show MAN this Wednesday 1st April at Dalston Superstore from 6pm – 9pm.

Visit the Arthole website to find out more and purchase Bj’s work:


Darren Black

An exhibition brought to you by ArtHole

Dalston Superstore
05.03.2015 – 02.04.2015
Launch event 05.03.2015 6pm-10pm

March 5th will mark a major turning point in Darren Black’s photography career. It will be this pivotal moment where his direction and outlook changes for mere fashion photography to a status of photographic artist-image maker. Armed with camera and computer in one hand, scissors and glue in the other, Darren will brandish both old-school and new technology techniques used to rampage through his archive of work to present a fluid blend of photographs which have been both deconstructed and re-assembled. No image is off-limits to the cravings of his imagination and the carnage he is aiming to create.destroy.create. This show is a reflection the process as well as outcome. We see images from the 6-year Darren Black archive, both professional and private, literally torn apart and cut up, spliced together with other images into new moments which transcend time, redirect space, and take no notice of continuity. This is a confident leap away from an industry where the desire for the perfect image through laborious retouching leaves it ignorant to the real talent. Black is now using the camera as a stage in the development of an image; the camera is now a tool to capture a moment from which starts the really journey of creation. The resulting collection of work is both stylish and fascinating. No longer just the image of the girl or the boy in front of the camera, you feel as though Darren himself has something to say about the images he has taken.

If you have been previously impressed by Darren Black´s iconic style in the past, then this switch is going to leave you hynotised.

Darren Black

Self ­taught photographer Darren Black joins us for the next ArtHole exhibition with his “raw, edgy, uncompromising, confrontational and explicit” shots that retain their strong fashion element in amongst the collage style. As a child of the 80s who split his time between Hong Kong and Europe and eventually settling in New York before returning to London, Darren’s global fashion style has been featured in cutting edge publications and seminal fashion institutions such as Vogue, Elle, Dazed, HUF, and Beige amongst others. Come and be the first to see his brand new work here for ArtHole at Dalston Superstore with a special live performance from Queen Of Hearts in the laser basement.

Who are you and what medium do you work in?

My name is Darren Black and I’m a photographer.

Who was the first artist who mesmerised the young you, and what work specifically caught your eye?

I think the first artist I genuinely noticed as a teenager was Andy Warhol and even though you can’t really see it in my work, I’m still influenced by him today, especially his photography. I’m also into the work of Nan Goldin, William Klein, Robert Mapplethorpe and Richard Avedon.

What training have you received in your chosen medium, if any?

I studied the basics of photography when I was a teenager but didn’t think it was a career option for me until I reached my mid-thirties, by which time, the world had moved on from analogue to digital, so I had to teach myself how to use a digital camera. I’ve always been a fan of photography and have always carried a camera around with me – even now, I use my iphone to capture moments throughout the day or log various locations for inspiration.  


What’s your fave piece of your work on exhibition with ArtHole?

I’m not sure I have a favourite piece but I do really like the simple series where I’ve sliced across the faces of the models – I really enjoy simplicity in my own work even when I enjoy carnage and riotousness in others.

In an ideal world, what would you change about the current art world?

Equality – in 2010 83% of the art at the Tate Modern was by men and at the Saatchi Gallery it was 70%. Going back through art history, women have been marginalised in art and yet objectified in the huge range of art nudes on the market. I think it’s time the balance was redressed. Art should be cutting edge and it should challenge and ask questions – there’s no reason why women shouldn’t be asking those questions and setting those challenges.

What do you aspire to?

I aspire to creating work with integrity – work of merit and relevance.

Tell us a secret about yourself…

I wanted to be an English teacher.

What music do you make your art to?

Deep house – always deep house.

Describe your working process for us…

I approach my work differently depending on what it is I’m doing. At my studio and on shoots, I always work to music – I’m like a lisztomaniac, I cannot stand working in silence. I generally always have people around me too, I find it really easy to concentrate when I’m in a crowd (and also, there’s always someone to make cups of tea too). Working on this project, I printed all the shots I knew I wanted to feature and started putting them in different piles with regard to content and tone. Then I started tearing stuff up and collaging, piecing photos together that were taken years apart but still had a similar thread to them in order to create new montages.
create.destroy.create by darren black

What was the last thing that moved you to tears? Or just moved you generally…?

I love reading and a good book is the kind of thing that moves me.  I know I’m behind the curve here, but at the moment I’m reading Perfume: The Story of a Murderer – the writing is so painterly and poetic, it really transports you right into the action.

Join Darren for the launch of his ArtHole show create.destroy.create this Thursday 5th March at Dalston Superstore from 6pm- 10pm.


Next Thursday in conjunction with the ArtHole exhibition launch, local electronic duo the Eyeshadows will join us in the laser basement for a special live performance at 8pm. As they’ll be celebrating the launch of their debut EP, we caught up with Y.O.T.I. and Mark from the Eyeshadows to find out behind their sound and ethos…

How did Eyeshadows come into being?

Everything started from a simple loop, playing around with a voice processor and the band name EYESHADOWS. That was all we had. I think we both had an instinct for the type of band we’d like to be but nothing was set in stone. It’s been interesting seeing the band almost take on a life of its own. It’s all been very organic.

What one record from the others collection sums up for you the point where your taste converges?

MARK: I’d gladly take Dirty Sanchez’s Really Rich Italian Satanists EP from YOTI’s CD rack. I’m not a huge fan of electronic music as I’m more of sweaty punk kid, but I loved the electroclash/elektro scene from the early 2000s which YOTI introduced me to. It had an energy and attitude and sense of humour, which I feel electronic music often lacks. It wasn’t “funky” it was rough and I do like a bit of rough.

YOTI: Even if I’m not a great fan of what Morrissey’s turned into, I have to say that his first solo album Viva Hate is one of those mile stone records in my life. That’s one of the records that I believe means a lot for Mark too and we both admire his ability as a lyricist. It must be obvious to everyone that he was always trying to empathize or connect with his audience on an emotional level and that’s something to admire.

What are your individual musical backgrounds?

MARK: I’ve been a variety of bands since my teens. Singing, playing guitar and trying to be Kate Bush.

YOTI: I did a fine art installation around eight years ago about a fictitious pop star, so I had a go at producing some tracks for that without any previous musical knowledge. I wasn’t really happy with the results but I used them for the project which went really well. Four years ago when I had a bit of a break from the visual arts I thought of trying again as I go a bit loopy when I am not creating. This time it worked for me and I got really into it. I created a solo project and EYESHADOWS grew out of that.

You’ve been performing live for two years now, how come it’s taken so long for you to get in the studio and make your first EP?

We’ve been perfecting our art, slowly, carefully with precision.

Tell us how you came to work with photographer Kostis Fokas for the EP artwork….

We discovered his work on a variety of sites and fell in love. We felt what he was doing which in some way tied in with the music that we’ve been trying to make and so approached him to see if he’d be interested in working with us and were delighted when he said yes. Kostis is an incredible guy and amazing artist and we’re thrilled to be working with him.

Eyeshadows EP cover by Kostis Fokas

If you had a time machine and could go back in time to any dancefloor anywhere/anywhen, where would you want to go dancing?

YOTI: Studio 54 in 1977, FAZ an Athenian Club in the early ’90s and Nag Nag Nag in 2002.

Mark: Donnington Monsters of Rock festival 1995 in a mosh pit, at the front being squashed by 10,000 metal fans.

What will your live set encompass?

Moving imagery, darkness, smoke, flashing lights, dirty looks, heavy petting.

Why is it important to have a multimedia aspect to the Eyeshadows?

We think pop music is a visual medium and that all great pop music is linked to a strong iconic visual identity. When you begin to combine music and imagery or film you can create something incredibly powerful and that’s what we try and do. Whether that’s with the videos we’re producing or our performances. Some of the imagery we’ve used for our videos could be considered controversial, but we’re not intending to shock. Whatever we do, we do to strengthen the message and the experience of our music.

Sum up the EP in one sentence?

A friend of ours described us as sounding like “The best post-club shower sex you’ve ever had” so we’ll go with that.

Join the EYESHADOWS for their EP Launch at Dalston Superstore on Thursday 5th February between 8-9pm.