Portland artist Jesse Narens is most at home in nature. Artworks with tree motifs, raindrops and layers of mark making reflect the forests and coastlines of the Pacific Northwest. Collected and followed by a global audience, Narens’ work is both lucid and magical, with creatures that seem to emerge, disappear and re-emerge from an ethereal plane. What draws one to the artist’s work is an individual preference, but there is no denying an ineffable quality of being transported to another world – sometimes primal, sometimes whimsical – vaguely familiar, if not altogether forgotten.
It is easy to make comparisons to visionary art when one looks at the works of Narens, although the artist would eschew any hierarchy – spiritual or otherwise – between the artist and other living beings. In the creative process, Narens becomes one with both subject and object and returns both artist and audience to their wild essence of being. Narens’ work embodies a transitory moment that is the quintessence of life, death, and art.
TTDOG met with Jesse Narens earlier this year and began a dialogue with the artist in advance of their upcoming show Asleep in A Field, opening Friday 4 August in Portland. Narens describes the artist’s career to date.
I started painting at the end of 2010 after my friend and artist Jesse Reno suggested trying out some alternative techniques. Prior to that I had never painted before. I focused on ceramics in high school, and dropped out of art college in less than a semester because I felt like they were creating artists, not letting people just be artists. I have always done something creative with my time.
I do whatever I feel like doing, creatively, at any given time. Painting and music are my go-tos , but every so often I get the urge to try something else.
Collaboration and a sense of community with other artists has always been important to Narens. As a teenager, the artist created showcases for their own and other artists’ works.
The shows I was hosting when I was 15-20 were one night music and art shows at different venues around the Chicagoland area, made up of people from the midwest that I found online, back when Myspace was popular. I showed my own work and played music at those events.
I’ve always enjoyed sharing the things I like with friends, so when I started playing music and making art it just made sense to try and be an event organizer or curator of some sort.
Collaboration extends as well to the audience where meaning-making becomes an adventure between artist, subject, object and audience.
My paintings, titles and music never really have specific meanings. I am trying to create a feeling. The feeling I get when I am in the woods or on the coast in the Pacific Northwest. Where people see bear and wolves, I just see a generic animal form, usually.
Sometimes I choose words just for the way they sound or to further push the atmosphere in the painting. It’s also important that all of the elements (music, words, painting, etc) are taken in together at the same time to get the full experience of my art.
Observing Narens’ recent body of work, one gets a sense of both forthrightness and mystery that allows the artist to give birth to and express the unutterable. Whether seemingly benign or ferocious, the creatures in Narens’ works seem to belong to a world that adults, living in contemporary society, are no longer able to see, let alone access and engage. Returning to a clarity and confusion akin to that of childhood, Narens leads us back to our own natural connection to the wild that we have distanced ourselves from, over time. To do this, Narens draws upon motifs of the natural world.
Looking back on pieces I can remember making in high school, most of them were tree related; people with branch arms, bark texture on my ceramic pieces…I grew up in the suburbs of Chicago, and I don’t remember experiencing much nature before the age of 20 when I moved to the Pacific Northwest. The few experiences I did have before then were all very memorable, and while I might not have thought about it then, I recognize now that the feelings I have now when I am out in nature have always been the same. It’s the only place where I feel I can just be. It’s the only place that feels correct to me. When I go back home I tend to spend a lot of time worrying about things that shouldn’t matter, but we have made them matter. I paint the places and things that make me feel good.
I find my greatest joy in nature.
As an intuitive artist, Narens’ artistic process mirrors the cycles of the natural world. The artist composes and decomposes each piece over and over again. Each layer, rather than adding armour and complexity, seems to strip away artifice and repression and restores freedom of vision. There is no attempt to obscure what has come before and the history of mark making, evident in the pieces, is like a treasure map the artist has left behind, to lead the audience to a sense of uninhibited being.
I don’t have the final piece in mind before it’s done. I just start painting, whether or not I have an idea, and the piece evolves as my mind processes what I’m seeing and thinking about at that time. Pieces get to a point where they definitely look like they could be called finished, but something just doesn’t feel right to me. I’ll paint over “finished” pieces again and again until they are done. Even pieces that are done might someday become unfinished again. If I have to sit with them for a long time, at some point, my mind might be in a different place than it was when a particular piece was finished, and I will no longer feel connected to it, so I paint over it. When I sit down and examine why I do certain things, I feel like working this way is a lesson in letting go and embracing change.
I get stuck at some point in almost every piece. Usually when they get to a finished looking point, but I don’t like it. To move forward, I usually have to paint over the parts I like the most. It frees up the piece to become something drastically different at that point. It’s not always the easiest thing to do, but it’s almost always the answer.
Narens does not create artworks for archival purposes, and believes that decomposition is as valid as composition in the making of art. For Narens, an artwork has a life that continues beyond the moment when the artist and the subject have transmuted the mystery of creation into form. What happens beyond that moment is a part of the life cycle of the art and Narens delights in seeing, for instance, works weathered in nature or by time. An ecosystem of its own, Narens’ art is in a constant state of flux and adaptation.
I don’t like making products for the sake of having things to buy. Sometimes I draw something and want it on a shirt for myself, so I get maybe 20 shirts made. When I do make something like a shirt or a book, I only make a small number to keep the items special to whoever ends up getting one. I try to make things on my own, or work with friends so I can keep the prices as low as possible.
Narens work is primarily self expression, yet the artist aims to allow their artwork to be a catalyst for a return to the wild. Using social media, Narens showcases the natural world through the artist’s own adventures as much as showcasing their artworks, encouraging followers to get outdoors. On occasion, Narens has left free artworks at natural sites as incentive. Having experienced nature, followers may be encouraged to protect the wilds. Yet, in the face of our society’s failure to protect ecosystems and natural preserves and our failure to act to avert the catastrophic impacts of climate change, Narens accepts the limits and responsibilities of one’s own place in the lifecycle of this living planet.
I’m alive, so I’ll live the best life I can, but I don’t have much hope for humans.
The earth will fix itself when we are gone, if we can’t learn to live with it.
Even though I feel this way, that doesn’t mean I’ve given up. I’ll continue to try and inspire people to care about the planet, and to share and support the work of people who I think are doing a better job than I am, like E.O. Wilson Biodiversity Foundation and Archangel Ancient Tree Archive.
While humankind may provide no solace for Narens, it is to the pockets of community, cultivated by the artist throughout life, that Narens turns.
I am currently going through a big transition in my life, so at the moment I am most grateful for the friends in my life that have been around since I was young.
Like an old friend, Narens has returned to the artists’ roots, performing live music with art at the upcoming exhibition, Asleep in A Field. For many of Narens’ fans, this will be the first opportunity to experience the artist’s music (performed under the name Ghost&Flower) with Narens’ artworks.
The last time I played music live was in 2011 and the last time I played music where my art was on display was probably 2008.
As with my visual art, my music is for me. And with music, I am again chasing a feeling that I don’t get from anything else, and I can’t express it in words, but when I am making music I very quickly go somewhere else in my head. I’ve recorded very little over the last 12 years of playing music live. I make music the same way I paint. It’s improvised, and I build layers through loops. I use a prepared guitar instead of electronic instruments, and build most of my rhythmic parts with a contact mic to play the room. Recording, even live, takes me out of the headspace that I am doing music for, so it’s no fun for me.
I went to a Bang On A Can marathon show when I was around 18 that had a big impact on my music. The show was something like 12 hours of non stop experimental music, but at the beginning they encouraged you to come and go as you wanted because doing so meant that each person would have their own unique experience with what they heard.
I’ve played so many great shows that I wish I had recordings of, but I know they would have gone different if it was being recorded. I like knowing that everyone who has seen me play had a unique experience that no one else will ever know.
Asleep In A Field opens Friday, August 4th in Portland and runs through Tuesday, September 5th at True Measure Gallery. Jesse Narens will play live music under the name Ghost&Flower on opening night, at sunset. For those interested in purchasing artworks but who cannot attend the exhibition, contact Jesse Narens (Jesse@Jessenarens.com) or True Measure Gallery.
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High costs and chemical contamination of fresh food is leading more and more individuals to seek to grow at least a portion of their own food, themselves. But as global populations continue to shift from being rural to city dwellers, gardening can be a challenge.
Urban gardening seeks to fill this void. Urban gardening is the practice of growing food within a city environment and can involve animal husbandry. It is a way of mixing urban style and design with nature and can reduce food miles by growing foods local to their use. Urban gardens help improve biodiversity, reduce urban rainwater runoff and help to mitigate the”heat island” effect caused by the concentration of infrastructure and lack of passageways of cooling air in cities. While most cities are far from the ideal envisioned by forward thinking urban planners, it is possible, with vertical farming, hydroponics, various agricultural technologies, and visionary architectural design, to conceive of a future where cities grow most of what the residents need, within the city confines. In the meantime, current urban gardens, like those on the High Line in Manhattan, provide relaxing green spaces for residents and revitalise business in the area.
Making the most of this growing trend is Nomadic Community Gardens, situated in the heart of the hip East End section of London known as Shoreditch. Nomadic Community Gardens works with city developers to care for disused urban spaces in a “meanwhile” use as they await planning permission to build. The space provides a venue for not only gardening but for community gathering of all kinds. The gardens are called “nomadic” because everything is portable and can be moved to a new location. Beds are built on pallettes to be transportable and to prevent contamination of and by the ground.
On Sunday 1 May, Nomadic Community Gardens celebrated a first birthday. The joyous celebration comes after several years of hard work to gain land use permission and a year of tenancy in the garden. The success of the community garden is largely due to the vision and dedication of James (Jimmy) Wheale, co-founder and Director of Nomadic Community Gardens and the next in our series of individuals using their skills to make a difference.
We met with Wheale earlier in the spring to discuss the social enterprise that has brought new life to a disused space off Brick Lane.
“I came across and idea in Berlin, when I was living there several years ago. It was a meanwhile use of space in an old carpark that they’d gotten the permission to use and so they created a cafe and a garden in a sort of foresty area and I thought: ‘Wow! There’s no reason this kind of thing can’t happen here.'”
Wheale admits “Continental Europe are light years ahead of us in terms of using space for the meanwhile time period and with a concentration on the creation of communities and the qualitative benefits that they bring to people’s lives,” yet, he was determined to turn his idea into a reality, in London.
When Wheale returned from Berlin, he described the idea to his friend, Junior, who had moved into a flat near to a disused space. Over the next couple of years, the two developed a winning proposal for the disused land, and when the land was sold to London Newcastle, they pitched the idea to the new owners.
“We’re attempting to act as a conduit between a corporation that finds it difficult to reach communities and the communities who need resources and who need space. Our project is there to find space and organise it so that communities can make use of it and if local authorities support what we’re doing it becomes more attractive to development companies who are trying to get permission from local authorities to do developments. If they can subside something in the meantime it almost offsets the damage that can happen in development.”
“Luckily for us,” Wheale says “their leadership has vision and believes in social responsibility and so they allowed it.”
London Newcastle quickly gave approval and although the team hoped to have access to the space in February 2015, in order to prepare the land for the growing season, they only gained access in May. This meant that there was a tremendous push to get garden beds ready for the remainder of the growing season. Fortunately, they built over 100 beds, and because of the position of the garden between two railway lines, without overshadowing buildings, the conditions were perfect for growing vegetables. In a densely occupied city like London, Wheale notes, this “breadth of horizon is unheard of.” With such a great deal of sunlight, the vegetables grew quickly in the first season and gave the residents the boost they needed to their enthusiasm for urban gardening.
The space was initially leased to Nomadic Community Gardens, to act as caretakers, on an initial 6 month lease. Wheale admits that he couldn’t demonstrate to the owners that he had done this sort of work before and that the plan would work, and he credits London Newcastle for their faith in the team.
“They took a real chance on us,” he says.
The lease has now been renewed, but the garden could be given 2 months notice, at any time, to vacate the space.
“But, you know, that’s part of the deal,” he adds.
In anticipation of this, Wheale has been talking with other landowners about taking the garden elsewhere, when London Newcastle begins to develop the land. Wheale explains that the intent of the project has never been to reclaim land from development but to make use of the resources, for the community, in the meantime.
Beds in the garden are free to residents and the garden is self supporting through the hosting of events that generate a minimal income to cover basic running expenses. Wheale hopes that in future gardens, development companies could subsidize start up costs to allow gardens to focus on being self sustaining once they are operating. In this way, the garden does not need to apply for funds from limited charity funding sources.
“Obviously we’ll never be earning big bucks,” Wheale says “but it doesn’t need it.”
For the Shoreditch Nomadic Gardens, Wheale used in his own savings for start up costs to get the ball rolling. Some of his investment has been repaid, though he admits that not all of it has.
“The boss always gets paid last,” he says, smiling.
At present, the garden is tended by volunteers, but Wheale has plans to pay certain key roles in the garden and if the garden concept spreads to other areas, he hopes to be able to provide employment opportunities, training and skills development along with community garden resources.
Wheale has a degree in Cultural Studies and has developed an eclectic set of skills. He worked in construction, and gained problem solving skills and determination in his time in the theatre industry. He has managed bars, where he learned to create ambiance and to nurture the social relationships of a community. Wheale also has prior experience with organic gardening. He argues that bringing vegetation into the urban environment is important for increasing biodiversity, and allows wildlife to flourish. The gardens also provide habitat for bees, which are currently under threat in many countries.
Vegetation, Wheale says, “softens the urban environment so you’re not always facing hard, impenetrable surfaces and there is a sort of therapeutic and health benefit to vegetative life, whether it’s just walking around it or growing it and tending to it and reaping rewards from it.”
Whilst Wheale likes the idea of offsetting carbon emissions with more vegetation, his main reason for creating the garden, was the social aspect and potential to improve urban quality of life.
“One of the most important things for people is quality of life. We are the sum of our relationships, and I saw that spaces in cities were being restricted with austerity measures and space is really where we get to build those relationships. Creating a community garden I thought was important, with the idea of growing vegetables because I felt that was a universal language that would create more cohesion as they all share in an activity. And that grew into trying to meet the more diverse needs of people in the community.”
In our trips to the garden, TTDOG experienced the great ambience of camaraderie and community. Friendships have been established and grown through the experience of being a part of the community garden. TTDOG asked Wheale how community became so important to him.
“It really came from my studies. It opened my eyes to the way society is structured and the way that structure affects people’s experiences, and I think that there is something to be said for support networks. We need to feel like people are caring for us and know our name. Anonymity is a really dangerous kind of experience to fall into and the way that society is organised and the way it atomises people not only affects their quality of life but also means that they’re under a level of consciousness that isn’t really benefitting them. They’re sort of really propping up something that is benefitting out of them.”
The garden has a wide reach through what Wheale calls various “spheres of influence” from the sphere of the immediate community that tends to their beds to the wider community that comes to the garden for workshops and social events to an even wider sphere of tourists who visit the garden and take ideas back to their own communities. And, because they have so much manpower and materials now, the team at the garden has been able to help other community projects, building beds for other gardens, and hosting workshops for other community gardens.
Nomadic Community Gardens currently hosts skills training in pallete furniture building, pallets bed building and basic DIY skills. There is also knowledge sharing in gardening.
Individuals experience a sense of satisfaction from the relaxed atmosphere and previously frictious relations between different communities have been eased and bridges built between members of these communities who have come together in the garden.
There are cafes in the garden and market stalls can be established to accommodate people’s enterprise.
The garden plays host to street artists who paint the walls with beautiful murals, musicians who jam on music nights and interactive theatre events.
TTDOG wondered how the community might respond when the landlord chooses to develop the land, removing this wonderful oasis for gathering, learning, sharing and gardening. Wheale philosophised that there may be a saturation point for community resources, when their impact begins to ebb. This may be because people have had the benefit of it, learned the skills they wanted to learn, or the limit is reached in terms of the number of beds. At that point, the garden can become more exclusionary than inclusionary and moving to a new location allows a new community to reap the benefits of the life cycle of the public space.
And, when there is a void that is left behind, this can create the impetus for the community, who has had the benefit of the space, to create it for themselves. His hope is that this can create a kind of community activism to rejuvenate and develop their own public spaces.
TTDOG asked Wheale’s advice on creating a community garden using meantime use:
“Come to me and I’ll give you the lowdown. I underestimated what it was going to take to get this project off the ground. There is a whole world of stuff that you have to do from writing literature that inspires people to having the practical knowledge of how to build things to the social knowledge of how to manage relationships, create and hold space and see yourself as the gatekeeper and not the possessor, how to relinquish control and allow stuff to happen organically, and, how to have discipline to turn up and work and inspire. One of the things is also creating the relationships with the PLCs and have them believe in you. You have to come with a proper proposal and a plan and some sort of strategy.
It’s no mean feat. You need to have a bit of self confidence and self love, because there’s been so many times when you think: ‘Should I just walk away?'”
Wheale looks around at what he and his team have created, and continues:
“It’s not an easy task and it looks great because it’s come through the really hard work of people that believe in it. But the only way to have more of these gardens is if the communities run them, themselves. I’d like to provide consultancy and maybe have some sort of a manual and some Youtube videos.”
“You’ve got to be the change you want to see in the world. One of the beauties of consciousness is that you can learn by doing. You don’t have to necessarily know how to do, before you do. There needs to be a certain conviction and a direction of purposeful intention that you go towards a goal and stick with it. Appreciate the down times and have gratitude for when it’s all coming together. You just have to start and you’ll find your way. And you may have a couple of false starts but it’s about the personal journey.
We’re all destined for greatness as long as we tread that road.”
As is our practice at TTDOG, we asked Wheale:
For what are you grateful and where do you find your greatest joy?
“I’m grateful for the experience to experience life. We are eternal spirits that have entered a soul to experience this space time. And I’m grateful for the tools that I have to experience it. I’m just happy to try to make the most use of them as I can in my lifetime and hopefully encourage others to live to the maximum of our potential and the fullness of our being.”
“My greatest joy is in that experience: the emotions that come from the sensory communications that we have in our life. As much joy as I can feast myself on, really. And not without sadness. I think sadness is as valid an emotion as joy and happiness is. You need to sit with your pain and work through your demons and I think that everybody has insecurities and everyone has something traumatic happen to them and those are the two defining experiences of our lives, and those are the important things to work on.
Once you work on those, the door is open for more joy.”
Nomadic Community Gardens is located off Brick Lane and is open Monday – Sunday 10 am to 10 pm. The garden hosts special events and workshops daily. Meeting of Styles UK will hold a major event on the UK bank holiday 27, 28, 29th in the garden with dozens of artists gathering in an annual Paint Jam. The public is welcome to come and watch live painting, enjoy food, music and drinks in a relaxed community setting.
We kick off 2016 with the first in a series of articles featuring individuals who are making a difference in the world – where they are, with the talents they have – through Service. Our first interview features the UK artist Louis Masai, who uses his skills as a contemporary fine artist and muralist to give a voice to the voiceless and promote environmental conservation.
The global climate summit COP 21 concluded last month and Louis Masai traveled to Paris to add to his works with the environmental NGO, Synchronicity Earth, on endangered species. In advance of the climate talks, he painted a coral mural outside Paris which is part of a series of murals he is painting in several countries.
In September, Louis Masai began the series by creating the largest mural he has painted to date, in London. The painting depicted a coral reef with various reef dependent species to highlight the biodiversity of marine ecosystems and corals under threat. The work was the artist’s first interactive piece, with members of the public suggesting species to include in his design as he painted, and the work received tremendous media attention. The artist has gone on to paint smaller coral follow-up pieces in Ireland, South London and Paris.
Marine ecosystems are vitally important to life on the planet. Oceans cover more than 2/3 of the surface, and plankton in marine ecosystems provide 50% of the world’s oxygen as well as food and livelihoods for vast numbers of the global population, particularly for the world’s poor. As part of the marine ecosystem, coral reefs are home to a multitude of marine life but with climate change, coastal runoff, overfishing and marine pollution, 75% of the world’s coral reefs are currently under threat with some environmentalists projecting that 90% of the worlds reefs will be under threat by 2030. The worlds largest coral reef, the Great Barrier Reef, barely remained off the UNESCO endangered list in 2015 and remains under a severe threat watch for the next several years.
These threats have serious implications for mankind. Seagrasses and mangroves have been lost with the worsening health of marine ecosystems. When coupled with coral losses and degradation, this has promoted the growth of disease spreading algal blooms in coastal waters which threaten to change disease vectors for masses of populations of humans and terrestrial wildlife. The Intergovernmental Panel of Climate Change (IPCC) scientists responsible for projections about the likelihood of climate change and the risks and impacts of that climate change confirm in their 5th Assessment report the vulnerability of coral reefs. The existing and projected degradation of coral reefs exacerbates the threat of sea level rise to coastal systems and low-lying areas and this will persist, even if the world manages to stabilise temperatures.
The environmental threat from degradation of the world’s reefs and marine ecosystems is extreme and it will take the concerted effort of the world’s population to improve our combined destiny. Digesting this grave information is not easy but Louis Masai has teamed up with Synchronicity Earth to help raise awareness by making all the frightening statistics more accessible and personal.
Whilst the COP 21 Climate Change summit was underway in Paris, we had the opportunity to connect with the artist via email for an interview.
TTDOG: You have shied away from the term activist in the past, but I know that you care deeply about the rapid wave of extinctions of species and of biodiversity loss. You have expanded beyond individual species and animals now to a much wider crisis – that of the vanishing coral reefs and, therefore, of entire marine ecosystems. You have painted in Paris at the start of COP21 where all the world’s leaders gathered to set the agenda that will affect the world’s climate which is arguably at a tipping point. What does this wider vision and forum mean to you and how do you hope your work will impact on leaders, environmentalists and individuals?
LM: Well, to be honest, I doubt very much that politicians that aren’t already engaged in the thoughts of environmental issues will become altered by stumbling upon my coral hearts in Paris or by the other paintings that I have done. In fact, they are probably blissfully unaware that I am doing it. There are other art projects happening in Paris that might reach them, but even still, I don’t personally believe that visual language can reach an unethical mind. However, I do believe that the people that vote governments in to power will be affected by visual language and I also believe that these images can inform the general public and, hopefully, unite the people to encourage the right politicians to lead countries and represent us at environmental summits.
Environmentalists love my work for the simple reason that it addresses issues that they are concerned with; It depicts them in an attractive way, and it helps to reach the wider audience. And, as individuals, I think 1 in 10 people will take note and allow for the message to override the actual image itself. I hope so, anyway.
TTDOG: You have said before that you inject a human element in your work. Have you done this in your recent series of coral paintings with synchronicity earth? In what way?
LM: Well the big coral mural I did in London doesn’t depict human juxtaposition in the way that my other work does, but if you look into the centre of the shape, there is a heart shaped hole which I have coined “the keyhole” which means the biodiversity that I have created is a padlock. Every keyhole has a key.
The coral hearts that I painted in South London, Paris and before in Ireland are the keys. This idea of keys and lock symbolises that to unlock a sustainable ecosystem, like the coral reef, we must all have a key to invest into its survival. The keys become metaphors for the human itself, and thus, the juxtaposition of human and animal becomes a little bit more obvious. Essentially all my coral paintings are connected together in some way because of the heart, which by the way is not shaped like I have painted them, this shape is a human interpretation.
TTDOG: Your work seems to focus on environmental crisis. What drives you to give a voice to those who do not have one within your paintings and then to engage and include so called marginalised people who are not otherwise part of the environmental discussion through interaction with your art?
LM: I haven’t ever stopped to figure that out, it’s just something that happened naturally, over time. I guess I’m just creating large real life jigsaw puzzles.
TTDOG: Your name is “Masai” and it is a word that seems both sacred and integral to your painting. Would you be willing to share how you gained the name and how it’s meaning infuses your work? What does it mean to you to call your followers “Masai Tribe?”
LM: I have fond memories of wild tales from my Opa about my dad in the Cameroons (now part of Nigeria and the Country of Cameroon) and it is those stories twinned with the Archeological treasures we had at home that steered me in the direction of tribal cultures. I soon discovered an amazing book called Africa Adorned (By Angela Fisher). I became fixated with a tall tribe bearing spears and shields, dressed in beautiful red tartans.
I later understood them to be the Masai warrior tribe.
I have a particular interest in the idea of one’s creation and the way that a person can shape and define who and what they are perceived to be by the general public. Being that I am an artist and one that engages in the public domain on a daily basis, I realised that my love of graffiti and the ideology of fame through a moniker or alter ego was, in many ways, no different from the inventions of the band names and frontmen that I was listening to, on my records. It’s also not uncommon for fine artists to invent their own names. Man Ray, for example, even took it a step further and his name became the art itself. Again, I found this very interesting and something that I wanted to incorporate with my own work.
With these factors all combined and running around my busy head some 8 or 9 years ago, I decided that I wanted a powerful name that I hoped could one day become as important as the work i was creating. I feel it’s starting to approach that place now, especially as my work is about raising awareness for endangered species and threatened ecosystems. The Masai are shepherds which is a nice link to the idea of an artist collecting consciousness amongst the peoples for animal welfare.
The reason for using Masai tribe in my social media is as a way to remind my followers that we are all unified in the success of one mans objectives. If mine is to spread awareness then it’s the tribe’s to move it from my page to theirs and further. I feel the word tribe removes any superiority amongst us.
TTDOG: I admire the way you have worked so incredibly hard and collaborated with activists to both make a living as an artist and to make a difference in the world. Both the art world and the world of socio/environmental/political change are really challenging. People often fear that they alone can’t make a difference. What would you say to them?
LM: Well, to start with, it depends what that one man standing solo is trying to achieve. You can’t play football on your own, but you can play a game with that ball on your own. So I guess what I’m saying is that if you want to make a difference and you feel isolated and alone then change the way you address it or go and knock and some doors and get a full team of football fans to play with you.
For me words like “original”, “unique” and “individual” are misused words because someone else has done it before, thought it before, and there will be many to follow. What i mean is that there are many more “you”’s out there and they care just as much, so find them. Your mission is to create the links, make a tribe and spread the message further.
Throughout his career, Louis has been evolving, creating connections and spreading his message. Although not always connecting his painting with specific conservation projects, he has long had a special ability to paint character-filled animals. Painting for several group and solo contemporary art gallery exhibitions, he also honed his skills with public murals in London and in several other countries. Louis’ evolving relationship with visual communication between animals as subjects and the public as viewer matured through several series of works, and began to focus on raising awareness of endangered species. His earlier work with Synchronicity Earth marked the passing of the 50th anniversary of the IUCN Red List for endangered species.
Shortly after this project, TTDOG had the pleasure to meet the artist at his solo exhibition “Batteries Not Included”, in London. There, Louis spoke about his work with Synchronicity Earth and of the importance for the public to understand and act now on the IUCN Red List for endangered species. His deeply moving connection with his subjects and his conviction to try to make a change was palpable to all in attendance.
A film by Synchronicity Earth was launched at the opening of the exhibition and provides a glimpse into the passion and purpose of Louis Masai and the Synchronicity Earth Team.
The project has been featured in social media by environmentalists such as Greenpeace, and Ecowatch, activist sites like Films for Action and the trend setting site Bored Panda as well as mainstream media. As the debate around banning neonics continues in countries like USA and Canada, and as Europe and the global South works to revive the pollinator population, the project provides a perfect example of how communities are both impacted by and can impact upon bee colony health.
Although the global climate meeting of the Conference of Parties 21 concluded late last year with a landmark climate agreement to end fossil fuels use and limit carbon emissions, implementing this agreement and limiting the other greenhouse gasses which threaten the climate will be a complicated process involving unpopular political policy and major lifestyle adjustments for the world’s population. We know this work cannot be done by governments alone.
As the world struggles to back away from climate disaster, Louis Masai’s paintings, as real life jigsaw puzzles, help remind even a fraction of his audience that we each hold the key to unlock the preservation of biodiversity.
We asked Louis Masai one final question:
TTDOG: For what are you most grateful, and where do you find your greatest joy?
LM: I just give thanks for the life I live. For me, joy is in nature, so I hope to find ways to preserve it.