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who famously created a giant sun in Tate Modern's Turbine Hall. | :00:00. | :00:00. | |
Everyone has the capacity to be creative. | :00:07. | :00:09. | |
We all do things in our lives that are artistic, whether we realise | :00:10. | :00:12. | |
Art isn't a stronghold of the elite, it's everywhere, it surrounds us. | :00:13. | :00:20. | |
This Artsnight is about the art of the everyday and people | :00:21. | :00:23. | |
My greatest hero, my father, dispensed two important pieces | :00:24. | :00:41. | |
The first is that you should never let the truth get in the way | :00:42. | :00:47. | |
The second, more applicable to this programme, is that if you choose | :00:48. | :00:51. | |
a job that you love, you never have to work | :00:52. | :00:54. | |
I can see a clear distinction between people who want to be | :00:55. | :00:59. | |
artists, maybe for the lifestyle, or potential wealth, | :01:00. | :01:03. | |
and fame, and people who aren't really bothered | :01:04. | :01:06. | |
about what they are labelled, but they can't help but be creative. | :01:07. | :01:09. | |
If I was into Formula 1 racing, I would be hanging out | :01:10. | :01:13. | |
with mechanics and engineers and racing car drivers. | :01:14. | :01:15. | |
I'm lucky enough to be surrounded by some amazingly created people, | :01:16. | :01:22. | |
I'm lucky enough to be surrounded by some amazingly creative people, | :01:23. | :01:26. | |
friends who fill me with some weird sort of positive jealousy that | :01:27. | :01:29. | |
makes me want to go back to the studio and try | :01:30. | :01:31. | |
Maki Suzuki is one of the most creative people that I know. | :01:32. | :01:40. | |
Maki's outputs are so diverse and saturated in such mental agility | :01:41. | :01:45. | |
that it's impossible to pigeonhole him in any way. | :01:46. | :01:50. | |
I've seen him initiate a publishing company, | :01:51. | :01:53. | |
a fashion house, a record label, make art works, and write and teach. | :01:54. | :01:58. | |
Maki is part of the design collective, Abake. | :01:59. | :02:05. | |
I think this has a consequence to the way that we work, even if it | :02:06. | :02:13. | |
For example, the first thing we did maybe with two French entrepreneurs | :02:14. | :02:21. | |
would be to start a record label which became a fashion label. | :02:22. | :02:25. | |
Almost in order to make the record sleeves. | :02:26. | :02:30. | |
It's very reactive to create that thing in order to do the graphic | :02:31. | :02:33. | |
By providing the music, what was missing is maybe a nice | :02:34. | :02:47. | |
Each record had a recipe and therefore the ingredients | :02:48. | :02:51. | |
It is the lazy principle of one idea for ever. | :02:52. | :03:02. | |
We would draw the faces of friends or family, | :03:03. | :03:08. | |
acquaintances, musicians, manager, printers, whoever we would meet | :03:09. | :03:12. | |
They might get smaller if we like them less but at some | :03:13. | :03:24. | |
point we had more than 2,500 people on the record sleeves. | :03:25. | :03:29. | |
We get asked the question, what do you do, very often. | :03:30. | :03:33. | |
It's a very strange question because anybody gets asked this | :03:34. | :03:41. | |
question but it can become stressful because you think that the one | :03:42. | :03:44. | |
answer is going to define the rest of the conversation. | :03:45. | :03:46. | |
I say that I'm a graphic designer and then the conversation ends | :03:47. | :03:50. | |
because that's the idea, "OK, he makes logos." | :03:51. | :03:53. | |
But I think there's a difference between what we are, | :03:54. | :03:57. | |
defining ourselves as what kind of job we do, | :03:58. | :03:59. | |
2016, and there are a few events that we are working on. | :04:00. | :04:09. | |
The first one is trying to get Carcetti elected. | :04:10. | :04:13. | |
First of all, I'm surprised to see so much media here. | :04:14. | :04:17. | |
A press event held earlier here to announce the revitalisation | :04:18. | :04:19. | |
of yet another part of our city was not so well attended. | :04:20. | :04:23. | |
Carcetti is a character from the Wire who becomes the mayor | :04:24. | :04:28. | |
in the TV series and then towards the end he becomes the governor. | :04:29. | :04:34. | |
This project is typical of Maki's view of the world. | :04:35. | :04:38. | |
To make a conceptual piece of art about a fictitious | :04:39. | :04:42. | |
It would appear that media attention is always focusing on the negatives | :04:43. | :04:48. | |
when it Comes to Baltimore but you guys aren't around | :04:49. | :04:51. | |
We have posters and garden signs and sweatshirts, to help. | :04:52. | :04:59. | |
The project comes back every four years. | :05:00. | :05:04. | |
It's dormant and then it comes back when it's relevant. | :05:05. | :05:11. | |
Normally it is my daughter showing it to any visitor. | :05:12. | :05:17. | |
That's why it's the bottom drawer and it contains all the bones | :05:18. | :05:24. | |
of fish, rabbit, chicken, anything that we have eaten | :05:25. | :05:26. | |
They are ready to be used to make dinosaurs. | :05:27. | :05:37. | |
My daughter, she makes a dinosaur, based on a visit | :05:38. | :05:40. | |
to the Natural History Museum, or the Internet and I help her | :05:41. | :05:43. | |
I got my first tattoo I think three years ago. | :05:44. | :05:54. | |
It is easy because it's when my daughter was born. | :05:55. | :05:58. | |
And I was in Toronto to participate in a seminar. | :05:59. | :06:06. | |
It was quite boring for her, so I left my arms with her | :06:07. | :06:09. | |
and she started making those marks with a sharpie, black marker. | :06:10. | :06:14. | |
And I thought they were very beautiful and also a nice reminder, | :06:15. | :06:21. | |
so we went to the tattoo parlour and they just traced | :06:22. | :06:25. | |
Then when she was three, I asked her to make a tattoo | :06:26. | :06:37. | |
and this time she reacted to her previous tattoo. | :06:38. | :06:47. | |
Even though this is just the pen ripping, she thought she had written | :06:48. | :06:50. | |
L, the initial of her first name. | :06:51. | :06:52. | |
That's why she made another L as a reminder of that. | :06:53. | :06:55. | |
And then she told me the whole story of the face but it is also a fish | :06:56. | :07:05. | |
going from one side of the water to the other, and that's that. | :07:06. | :07:08. | |
I do have this responsibility as a father but the real agenda | :07:09. | :07:11. | |
Very recently I was in a gallery giving a talk about someone's work | :07:12. | :07:29. | |
and then this woman came and incredibly she said this cliche | :07:30. | :07:33. | |
of, "Why do you think this is good, because a child can do better." | :07:34. | :07:41. | |
I really had to say of course children are the best, | :07:42. | :07:45. | |
it's just we have to struggle as we grow up to stay that way. | :07:46. | :08:02. | |
I've come to Berlin to meet Olafur Eliasson, an artist | :08:03. | :08:06. | |
who is probably best known in the UK for his colossal sun installation | :08:07. | :08:09. | |
Olafur is an artist who I have held a strange kind of closeted jealousy | :08:10. | :08:20. | |
He has a massive studio in the east of the city. | :08:21. | :08:29. | |
The lowest point does not even have to be in the line. | :08:30. | :08:35. | |
Here, Olafur oversees numerous design, architecture | :08:36. | :08:36. | |
As part of the studio day, all of his staff gather together | :08:37. | :08:58. | |
Today we are cooking Persian aubergine stew, with tomatoes, | :08:59. | :09:01. | |
The studio has now published a cookbook based on these lunches. | :09:02. | :09:13. | |
The individual recipes coming from the designers, | :09:14. | :09:16. | |
Do you feel like it's become an important ritual of the studio? | :09:17. | :09:27. | |
In a way, the kitchen, everybody, they are sort of equal. | :09:28. | :09:32. | |
It introduces the idea of talking without any hierarchies and so on. | :09:33. | :09:37. | |
It has a great influence on the rest of the house. | :09:38. | :09:47. | |
So the cookery book is very much a celebration of the | :09:48. | :09:52. | |
There's a lot of funny stuff, such as eating with long cutlery. | :09:53. | :09:58. | |
I'm curious about the motoric skills needed to get a fork in your mouth, | :09:59. | :10:01. | |
and to have a very long fork isn't so easy. | :10:02. | :10:04. | |
I love it when you have a potato and you hit your nose! | :10:05. | :10:08. | |
I'm going to try it as soon as I get home! | :10:09. | :10:12. | |
I gave it to you, you can do that, Ryan. | :10:13. | :10:25. | |
I think a long cutlery Ryan edition. | :10:26. | :10:27. | |
Olafur came to prominence in the UK with his Weather Project | :10:28. | :10:41. | |
But now it is a little sun that is giving him global fame. | :10:42. | :10:55. | |
I bought my daughters the little sun and I love it as a project. | :10:56. | :10:58. | |
I like the way it has this kind of consequence, | :10:59. | :11:00. | |
I feel very humble and excited about the fact that I've been able | :11:01. | :11:06. | |
to have a lot of exposure in the art world and I've met a lot | :11:07. | :11:10. | |
And sometimes the artwork tends to close itself into a bubble. | :11:11. | :11:15. | |
I've been very focused on the types of projects that allow me to take | :11:16. | :11:22. | |
the creativity that I've learned and use it in other ways, | :11:23. | :11:27. | |
outside of the conventional art world. | :11:28. | :11:31. | |
And I think there is more to it than just breaking these boundaries, | :11:32. | :11:34. | |
it's also about showing that creativity can be everywhere, | :11:35. | :11:37. | |
you don't need an art world to be creative. | :11:38. | :11:42. | |
So the little sun for me was an attempt, this is the little | :11:43. | :11:47. | |
sun, to see if I can take the creativity that I work | :11:48. | :11:57. | |
with and make it work in a different context, | :11:58. | :11:59. | |
This is a solar panel, so when the sun shines, | :12:00. | :12:02. | |
I can charge it like this and to a certain extent | :12:03. | :12:05. | |
It is about having energy in your hand and you can also say | :12:06. | :12:14. | |
It is an empowering thing, where you feel you are connected | :12:15. | :12:19. | |
to the sun but also a source of energy. | :12:20. | :12:21. | |
I guess it means that people can read after the sun goes down | :12:22. | :12:27. | |
We sell it at a higher price, for instance online and in museums | :12:28. | :12:35. | |
and design shops and we take the profit from that and we deliver | :12:36. | :12:38. | |
them in areas where there is no access to power, | :12:39. | :12:41. | |
like sub-Saharan Africa, where we are in 12 countries now. | :12:42. | :12:47. | |
And there, we don't give it away as an aid, we use it to build small | :12:48. | :12:59. | |
businesses sometimes sold with a small loss, | :13:00. | :13:00. | |
to places where we can seek potential economic growth. | :13:01. | :13:04. | |
We try and integrate it into society. | :13:05. | :13:06. | |
As I speak we are hitting the 500,000 lamps sold. | :13:07. | :13:18. | |
Creativity is very much about that sort of ability to somehow sense, | :13:19. | :13:24. | |
"I'm a part of something", it's about interdependence, | :13:25. | :13:35. | |
I see myself in the other, I see myself out there. | :13:36. | :13:41. | |
This means the surroundings, to some extent, carry me. | :13:42. | :13:46. | |
How would you encourage a creative life for people where the creativity | :13:47. | :13:49. | |
Creativity isn't in the object, the creative potential is somehow | :13:50. | :13:59. | |
in how it arrived there in the first place, where did it come | :14:00. | :14:02. | |
You can say that creativity is in the consequences. | :14:03. | :14:08. | |
When we cook, the question I ask, and the cookbook is to some extent | :14:09. | :14:14. | |
about that, is the creative potential actually | :14:15. | :14:15. | |
Do you succeed at cooking with some sensitivity towards the climate, | :14:16. | :14:25. | |
for instance, or the people who have been driving the food | :14:26. | :14:28. | |
throughout Europe, carrying it, harvesting? | :14:29. | :14:31. | |
How did that particular salad come to you in the middle of the winter? | :14:32. | :14:37. | |
So creative is not the kind of funny, somehow weird, | :14:38. | :14:41. | |
great looking, disconnected stuff, it's about how | :14:42. | :14:43. | |
Thanks so much for having me over, it's really great to meet you. | :14:44. | :14:50. | |
Max Lamb and Gemma Holt are the creative | :14:51. | :15:02. | |
They live in north London, where they recently | :15:03. | :15:18. | |
designed and renovated the shell of an old warehouse | :15:19. | :15:21. | |
We don't really think about whether or not our lives | :15:22. | :15:27. | |
are creative, I think we naturally, inherently live creative | :15:28. | :15:30. | |
Gardening or even just tidying can be a creative act. | :15:31. | :15:34. | |
That you can learn something from, I guess. | :15:35. | :15:42. | |
Prior to that an industrial building used for many | :15:43. | :15:50. | |
I mean, the house is incredibly personal to us, because every | :15:51. | :16:00. | |
visible part of the house that you can see was created by us | :16:01. | :16:04. | |
This is the living part of the home, if you like. | :16:05. | :16:07. | |
It's a dining room, living room, kitchen. | :16:08. | :16:09. | |
We've been slightly indecisive about the doorknobs and handles, | :16:10. | :16:11. | |
so we ended up with a bit of a medley. | :16:12. | :16:17. | |
Something I've made myself, bent out of brass rod. | :16:18. | :16:20. | |
Just a little bit of an experiment, I suppose. | :16:21. | :16:27. | |
So, we live upstairs and our studio and | :16:28. | :16:29. | |
Most of the space is taken over by storage of tools. | :16:30. | :16:35. | |
Walking through here, this is the bathroom. | :16:36. | :16:38. | |
Designed in a way that sort of divides the living space | :16:39. | :16:41. | |
The tiles, which you might see as being rather wacky, | :16:42. | :17:01. | |
They are aggregate materials, they are the waste product | :17:02. | :17:04. | |
This is a product I designed and is now available. | :17:05. | :17:08. | |
These are some pieces based on children's | :17:09. | :17:09. | |
snap bangles, that you wrap around your wrist. | :17:10. | :17:12. | |
These are steel and they have been gold-plated. | :17:13. | :17:15. | |
They are made out of old tape measures. | :17:16. | :17:20. | |
Much to Gemma's annoyance, our home gets | :17:21. | :17:22. | |
This is my grandfather's tree, which was | :17:23. | :17:29. | |
It was an 186-year-old ash tree on my | :17:30. | :17:36. | |
Which was dying and needed to be felled and divided into 131 logs. | :17:37. | :17:47. | |
Yes, it is just a log, but it is also a table. | :17:48. | :17:51. | |
This is actually part of the main trunk and | :17:52. | :18:00. | |
every time the tree splits, turns into a B or a C. | :18:01. | :18:03. | |
And then on the underside, a signature plate. | :18:04. | :18:07. | |
You can't really turn on and off creativity. | :18:08. | :18:13. | |
So I don't think a creative career really | :18:14. | :18:22. | |
You have to be very fluid about it and | :18:23. | :18:28. | |
I think the arrangement of living and working in some ways is really, | :18:29. | :18:36. | |
really good, but there is never switch off point. | :18:37. | :18:39. | |
The living and working just becomes one whole | :18:40. | :18:45. | |
I'm making some infinity rings, rings that fit over two | :18:46. | :18:51. | |
I think you'd be surprised that behind every single front door | :18:52. | :19:11. | |
huge amounts of creativity is happening in every home, | :19:12. | :19:13. | |
regardless of background, occupation, size of | :19:14. | :19:14. | |
I mean, humans are inherently creative. | :19:15. | :19:44. | |
I've come to the Lake District to meet Adam Sutherland, | :19:45. | :19:47. | |
Adam's evangelical about his idea all art should have a purpose. | :19:48. | :19:54. | |
He's like a modern-day William Morris. | :19:55. | :20:01. | |
Ruskin lived down the track and allegedly came up to this farm | :20:02. | :20:04. | |
It's the perfect place to explore a creative life. | :20:05. | :20:08. | |
Adam runs residential courses here, mainly for arts graduates. | :20:09. | :20:20. | |
Core to these is an ethos to implement a more valuable | :20:21. | :20:23. | |
Their website says, Grizedale Art has become a model for a new sort | :20:24. | :20:37. | |
One that works beyond the established structures | :20:38. | :20:40. | |
of the classic contemporary art model. | :20:41. | :20:41. | |
It sounds a bit like a Swiss finishing school. | :20:42. | :20:43. | |
Well, I do try and teach people to make cheese souffle | :20:44. | :20:48. | |
From working with Turner prizewinners... | :20:49. | :20:53. | |
I'm not ready, I didn't expect it at all! | :20:54. | :21:00. | |
To projects in their own local community. | :21:01. | :21:02. | |
And regular international collaborations. | :21:03. | :21:12. | |
In 2013, Grizedale arts created Anchorhold a movable | :21:13. | :21:16. | |
structure in collaboration with high art in Finland . | :21:17. | :21:21. | |
Anchorhold was designed to offer a multitude of functions, | :21:22. | :21:23. | |
ranging from being a fishing hole, dining room for one | :21:24. | :21:26. | |
Just perfect for some primal scream therapy. | :21:27. | :21:36. | |
Mostly, I would say, they are people who've | :21:37. | :21:41. | |
been a couple of years out of college. | :21:42. | :21:44. | |
We don't advertise it, so the idea really is that they have | :21:45. | :21:47. | |
to be quite motivated to have found it | :21:48. | :21:49. | |
We used to run call-outs for artists and that is such a bad system. | :21:50. | :22:02. | |
You end up pissing off 150 people every year. | :22:03. | :22:04. | |
You quite quickly get through the whole art world. | :22:05. | :22:07. | |
Would you say living a creative life is important | :22:08. | :22:09. | |
to you and the people that come here? | :22:10. | :22:11. | |
Maybe longer, you are giving away my age. | :22:12. | :22:17. | |
When it was kind of Bedlam and lots of drunk artists and so on. | :22:18. | :22:21. | |
I've been trying to stop it being like that. | :22:22. | :22:27. | |
Over the years I've got more and more specific | :22:28. | :22:30. | |
about the discipline of working here and how that functions. | :22:31. | :22:41. | |
The two most important currencies for a young artist | :22:42. | :22:44. | |
The predicament of having a full-time job in order to pay | :22:45. | :22:51. | |
the rent or a studio that you never have the time to work | :22:52. | :22:55. | |
The main purpose of Grizedale is to break | :22:56. | :22:59. | |
Inviting artists to live and work alongside each other in a melting | :23:00. | :23:04. | |
pot type of environment away from the distractions of their daily | :23:05. | :23:07. | |
There is something about the room openers and serenity | :23:08. | :23:16. | |
of the landscape here that makes it very | :23:17. | :23:19. | |
And fills you with the sort of confidence to try out | :23:20. | :23:27. | |
When you talk about craft, I think of function. | :23:28. | :23:39. | |
It often comes up, people go, well, the whole point of art is that it's | :23:40. | :23:47. | |
useless and has no function and no reason. | :23:48. | :23:49. | |
It's been very interesting working here, it's a northern village, | :23:50. | :23:55. | |
Coniston, and I think generally there is a deep | :23:56. | :23:58. | |
suspicion of, certainly contemporary art. | :23:59. | :24:01. | |
Probably not confined to the north of England, suspicion. | :24:02. | :24:05. | |
A lot of local people have come to see | :24:06. | :24:14. | |
this idea of creative as something that is really vital to them | :24:15. | :24:17. | |
and useful in terms of how they develop | :24:18. | :24:19. | |
It's disappeared, everybody is so specialised they are forgetting | :24:20. | :24:35. | |
When you talk about us losing our way, you sound | :24:36. | :24:43. | |
I feel that really strongly, that artists | :24:44. | :24:53. | |
But I also feel that now is this amazing opportunity | :24:54. | :24:56. | |
This is a society that needs that input. | :24:57. | :24:59. | |
Said the context for this programme is, it's about the way people live | :25:00. | :25:03. | |
Well, of course, I think it's very important, | :25:04. | :25:11. | |
but I think it's also very difficult. | :25:12. | :25:13. | |
And I think I struggle with it, I think | :25:14. | :25:16. | |
everyone struggles with a balance in life. | :25:17. | :25:23. | |
You have to manage a lot of other things other | :25:24. | :25:25. | |
I get up painfully early as I get older. | :25:26. | :25:28. | |
The idea is that 9am there is a gear change in the day and it gets | :25:29. | :25:38. | |
I'm always looking for solid examples of how you can explain | :25:39. | :25:48. | |
So if I was to explain to someone like | :25:49. | :25:52. | |
my mum, for example, who never went to art school, | :25:53. | :26:05. | |
what the use of an artist in day-to-day society would be, | :26:06. | :26:08. | |
I think, what I think art is, I suppose, is this live, | :26:09. | :26:12. | |
This building for example, I imagine it's an inspiring | :26:13. | :26:15. | |
collection of material and everything in it has been | :26:16. | :26:17. | |
considered, it's here for a reason and it does something. | :26:18. | :26:27. | |
If people in enquire of it, I can pretty much tell | :26:28. | :26:29. | |
you quite a long, arguably boring, story about more or less anything | :26:30. | :26:32. | |
How many people's homes in the rest of Britain do you think | :26:33. | :26:36. | |
Everybody's home is like that, they just maybe | :26:37. | :26:39. | |
If you put a plastic bag on your dining table, | :26:40. | :26:45. | |
A lot of what happens here is about teaching | :26:46. | :26:51. | |
people to make things, even if that's just how | :26:52. | :26:57. | |
I think I taught you how to make gnocchi. | :26:58. | :27:01. | |
Handmade gnocchi on the back of a fork. | :27:02. | :27:04. | |
Thanks very much, Adam, nice to see you. | :27:05. | :27:07. | |
Picasso famously said most artists make eight moulds | :27:08. | :27:23. | |
Picasso famously said most artists make cake moulds | :27:24. | :27:25. | |
and then they make cake, and plenty of them. | :27:26. | :27:27. | |
And they become very pleased with themselves. | :27:28. | :27:30. | |
He also said an artist should never do what's expected of them. | :27:31. | :27:33. | |
That an artist's worst enemy is style. | :27:34. | :27:38. | |
Being an artist or aspiring to be creative is not | :27:39. | :27:40. | |
really a job or vocation, it's a way of living. | :27:41. | :27:42. | |
It's having the ability to find possibilities in everything. | :27:43. | :27:45. | |
And wondering around the world with our eyes and minds open. | :27:46. | :27:51. | |
At the start of this programme I asked, are we all artists? | :27:52. | :27:54. | |
But now I'm not sure whether that question is important | :27:55. | :27:57. | |
Perhaps a better question would be to ask whether we all take | :27:58. | :28:03. | |
advantage of the opportunities in our day-to-day lives where we get | :28:04. | :28:05. | |
to exercise our own creative potential. | :28:06. | :28:11. | |
As an art student in Manchester, a tutor told me one way to prove | :28:12. | :28:26. | |
creativity is instinctive and not learn is to ask a number of people | :28:27. | :28:29. | |
from different backgrounds to brush the floor. | :28:30. | :28:31. | |
He insisted all the people invited would brush the floor | :28:32. | :28:33. | |
So to end this Artsnight, let's see if it's | :28:34. | :28:36. | |
Hallo, the weather for the weekend, a bit of a grey area, a lot of cloud | :28:37. | :29:13. | |
and not much rain. Some breaks in the cloud, northern Scotland, but | :29:14. | :29:18. | |
elsewhere it's going to brighten up. Some early | :29:19. | :29:19. |