0:00:40 > 0:00:43CHOIR SINGS
0:01:35 > 0:01:38As an artist, you're trying to engage your audience.
0:01:38 > 0:01:42You know, you want them to be interested in what you're doing.
0:01:42 > 0:01:47Beauty is one way in. Of course, you know, the work can be dark as well.
0:01:53 > 0:01:58If there are any kind of dark areas, they will find that later
0:01:58 > 0:02:01but it's important to kind of get people's attention.
0:02:08 > 0:02:11When I was, um...
0:02:11 > 0:02:13young, and I lived in Nigeria,
0:02:13 > 0:02:17we used to come to London for the summer holidays
0:02:17 > 0:02:22and we used to go to Trafalgar Square to feed the pigeons,
0:02:22 > 0:02:26so when I was asked to put my work in Trafalgar Square, I thought,
0:02:26 > 0:02:31you know, that was awesome, it just brought back childhood memories.
0:02:31 > 0:02:35Except this time, all the pigeons were gone, disappeared.
0:02:35 > 0:02:38I think Ken Livingston got rid of them.
0:02:38 > 0:02:42But I remember we used to be able to go down there and feed them
0:02:42 > 0:02:46and, yeah, that brought back memories, having my artwork there.
0:02:46 > 0:02:49I mean, I like the fact that, you know, you can
0:02:49 > 0:02:52just look at the work of art, you don't have to know anything about it,
0:02:52 > 0:02:58you don't have to be the kind of person that goes to galleries and...
0:02:58 > 0:03:02you can have a conversation about it and I've been particularly...
0:03:02 > 0:03:03you know, I guess,
0:03:03 > 0:03:07excited or moved the way that cab drivers know everything about
0:03:07 > 0:03:09what goes on on the fourth plinth
0:03:09 > 0:03:13and everyone's got an opinion and that's actually very interesting.
0:03:13 > 0:03:17Only in London you have cab drivers arguing with you
0:03:17 > 0:03:20about what they like, what they don't like, you know?
0:03:20 > 0:03:22Often they'd asked me, you know, "What do you do?"
0:03:22 > 0:03:26and I say, "I'm an artist," and they say, "Watercolours or oils?"
0:03:26 > 0:03:28And I will say, "Ah, well,
0:03:28 > 0:03:31"did you see the ship in a bottle in Trafalgar Square?"
0:03:31 > 0:03:34And they go, "Oh, yeah, so you done that?"
0:03:34 > 0:03:36I'd say, "Yeah, yeah, I did that."
0:03:36 > 0:03:37I think it's just good when art...
0:03:37 > 0:03:40You know, when everyone can just have a conversation about art
0:03:40 > 0:03:44and see that it's just part of normal life,
0:03:44 > 0:03:47it doesn't have to be elitist or anything.
0:03:47 > 0:03:51So that's, you know, why I enjoy actually putting my works in public.
0:03:58 > 0:04:04So I'm doing this rather surreal piece, I'm doing a sketch of this
0:04:04 > 0:04:09kind of man celebrating and he's got all these balloons pulling him up.
0:04:09 > 0:04:14So that's Balloon Man I'm actually doing.
0:04:14 > 0:04:19It's kind of a slightly surreal but also fun piece about,
0:04:19 > 0:04:23you know, celebrating something and...
0:04:25 > 0:04:28..you know, being, maybe, overindulging, perhaps.
0:04:33 > 0:04:34Do you overindulge?
0:04:36 > 0:04:42Maybe when I was little bit younger but I don't think you can be...
0:04:42 > 0:04:45very successful at what you do if you are not focused.
0:04:45 > 0:04:47Because if you're...
0:04:47 > 0:04:49If you're always drunk and drugged out,
0:04:49 > 0:04:52you're not going to know what you're doing,
0:04:52 > 0:04:55you can't really run your studio if you're like that,
0:04:55 > 0:04:58so you do have to be quite disciplined, actually,
0:04:58 > 0:04:59to be an artist. It's a myth.
0:04:59 > 0:05:03Artists are some of the most disciplined people around,
0:05:03 > 0:05:06cos they can't run their studios otherwise.
0:05:40 > 0:05:42We get the sketch from Yinka
0:05:42 > 0:05:45and you try and get the flavour of what he's trying to get across.
0:05:45 > 0:05:49This is a guy who's being lifted off the floor by balloons.
0:05:51 > 0:05:54It's an ideal pose of what somebody would look like being pulled up
0:05:54 > 0:05:59by balloons but when you try and do that pose for real, you can't do it.
0:05:59 > 0:06:02So you have to do it in real life
0:06:02 > 0:06:06with people hanging from the ceiling on ropes
0:06:06 > 0:06:08and that way you get a better idea of what
0:06:08 > 0:06:12the pose is actually going to be like, which is more like this one.
0:06:12 > 0:06:14He's based that on some of our images
0:06:14 > 0:06:19that we've done from life and, out of about 300 poses,
0:06:19 > 0:06:21the overall winner was this one,
0:06:21 > 0:06:24which was me doing the pose in that instance.
0:06:24 > 0:06:27So that's how it gets refined down to the actual pose
0:06:27 > 0:06:29that we're going to sculpt from.
0:06:31 > 0:06:34He gives a lot, so he's easy to get into the head of
0:06:34 > 0:06:37and he's very good at communicating what it is he wants
0:06:37 > 0:06:42and he has a definite palette of materials, colours, etc,
0:06:42 > 0:06:44and ideas that he likes to use.
0:06:44 > 0:06:49They're anonymous figures, kind of a bit everyman-like.
0:06:49 > 0:06:52The only thing that's often detailed is the hands
0:06:52 > 0:06:54and these we cast from life.
0:06:54 > 0:06:57The rest of the bodies are like a shop-mannequin body.
0:06:57 > 0:06:59Quite anonymous-looking.
0:07:01 > 0:07:06Why do you think that he likes them to be sort of a bit anonymous?
0:07:06 > 0:07:08Um, I think that's part of the magic of it.
0:07:08 > 0:07:11If you start putting a likeness onto a figure, it becomes a...
0:07:11 > 0:07:18a sculpture of someone, rather than an abstract sculpt of a figure.
0:07:18 > 0:07:22He likes to end up with a finished sculpture
0:07:22 > 0:07:24that's magical when you look at it,
0:07:24 > 0:07:28it's got a charm and a whimsy and a magical quality.
0:08:03 > 0:08:07# Since I came to know you, baibe
0:08:07 > 0:08:11# I've been telling you how sweet you are
0:08:11 > 0:08:15# I've been telling you how good you are
0:08:15 > 0:08:18# Now I want you try to tell me how I look
0:08:20 > 0:08:23# Tell me, tell me, tell me
0:08:23 > 0:08:28# Tell me, tell me, tell me Please, tell me how I look
0:08:28 > 0:08:32# You look so good
0:08:32 > 0:08:35# Fantastic man... #
0:08:42 > 0:08:45My work got really political. I was making work
0:08:45 > 0:08:49about what was going on in Russia at that time - perestroika -
0:08:49 > 0:08:52and then one of my tutors said,
0:08:52 > 0:08:55"Why aren't you making authentic African art?"
0:08:55 > 0:08:57And, um...
0:08:57 > 0:09:01I just didn't know what he meant by that, really.
0:09:01 > 0:09:07And so I kept sort of trying to find out what authentic African art is,
0:09:07 > 0:09:09you know, as somebody who was born in London
0:09:09 > 0:09:12but then grew up in Lagos, Nigeria,
0:09:12 > 0:09:16but also in a very kind of cosmopolitan city,
0:09:16 > 0:09:20I didn't quite understand why I had to do,
0:09:20 > 0:09:23you know, traditional African art.
0:09:23 > 0:09:29So I went to Brixton Market, where I found the fabrics
0:09:29 > 0:09:33and then they said the fabrics are Indonesian-influenced fabrics
0:09:33 > 0:09:38produced by the Dutch and then for sales to the African market.
0:09:38 > 0:09:43But I always imagined that the fabrics were authentically African,
0:09:43 > 0:09:47so I thought the story was quite interesting.
0:09:47 > 0:09:50And then that's kind of how I started to incorporate
0:09:50 > 0:09:52the fabrics into my work.
0:09:57 > 0:10:03I mean, I've got a disability and I do have some physical restrictions.
0:10:04 > 0:10:08At first, I wanted to do large, abstract pictures but then I thought,
0:10:08 > 0:10:11"Actually, it will be quite difficult for me to do that."
0:10:11 > 0:10:14And also, conceptually,
0:10:14 > 0:10:20a lot of abstract paintings were made by, you know, white men
0:10:20 > 0:10:24and I decided to actually challenge that
0:10:24 > 0:10:28and produce something that's got lots of patterns from the market.
0:10:28 > 0:10:31It's not high art, it's popular culture.
0:10:31 > 0:10:39And I've kind of fragmented this sort of huge sort of white male ego
0:10:39 > 0:10:41into this sort of tiny...
0:10:41 > 0:10:44um, tiny canvases.
0:10:44 > 0:10:48That's kind of why they ended up, you know, looking like that.
0:10:48 > 0:10:53And I guess that's sort of where the use of the fabric started
0:10:53 > 0:10:57and then, subsequently, I started to use the fabrics
0:10:57 > 0:10:59in the costumes as well.
0:11:23 > 0:11:27All his figures are three fabrics, so you get a light,
0:11:27 > 0:11:28a dark and medium one.
0:11:28 > 0:11:32Or hot, cold, medium. And then...
0:11:33 > 0:11:37..he kind of leaves it up to us, leaves it up to me,
0:11:37 > 0:11:39to choose how I use it.
0:11:39 > 0:11:42So what I've done is cut out the section
0:11:42 > 0:11:47that actually will be visible in the garment when it's made up,
0:11:47 > 0:11:51cos some bits are sort of hidden because of the cut,
0:11:51 > 0:11:54and I'm just moving it around until I get a piece
0:11:54 > 0:11:58that looks like it might work in the garment and...
0:12:00 > 0:12:03..with the colours of the underlying pieces, you know,
0:12:03 > 0:12:05the waistcoat and shirt underneath.
0:12:05 > 0:12:10But this one is quite a varied... You know, varied colours, so...
0:12:10 > 0:12:13But I find quite often if I don't think about it
0:12:13 > 0:12:15and just move this around and then...
0:12:15 > 0:12:17one bit will just be more pleasing than another
0:12:17 > 0:12:19and that's what you go for.
0:12:20 > 0:12:22I'll trim it down, it's fine.
0:12:25 > 0:12:27Right, I've just got to whack it under the iron.
0:12:28 > 0:12:30Can I take it off?
0:12:31 > 0:12:34Yeah, you can take it off.
0:12:34 > 0:12:35What's great is that...
0:12:36 > 0:12:42..there's a lot more sort of artistic freedom for me as a maker
0:12:42 > 0:12:43because I can...
0:12:43 > 0:12:46You know, I'm given the fabrics and then I can work with them
0:12:46 > 0:12:47and do what I like with them,
0:12:47 > 0:12:51which is a really lovely way to work because...
0:12:51 > 0:12:54I'm kind of used to, before that, having to...
0:12:54 > 0:12:56You know, there's a lot of stopping and starting
0:12:56 > 0:12:59and having things checked by designers and changes made,
0:12:59 > 0:13:03so it's really lovely to have the sort of flow of being able to...
0:13:03 > 0:13:05just decide what you're going to do and work it through
0:13:05 > 0:13:08and know that, you know, you're trusted to do that.
0:13:11 > 0:13:13How's it going, Miranda?
0:13:13 > 0:13:16It's getting there. It...
0:13:18 > 0:13:23..will suddenly turn into a coat with sleeves, hopefully.
0:13:23 > 0:13:26Yes, you feel like you're kind of not getting anywhere
0:13:26 > 0:13:30when things are in bits and everything has to be kept...
0:13:30 > 0:13:34Well, a lot of elements have to be kept separate right until the end.
0:13:34 > 0:13:35And then...
0:13:36 > 0:13:39..it comes together fairly near completion.
0:13:40 > 0:13:44And just when you think you're not going to be done in time.
0:13:44 > 0:13:48And...it starts to happen.
0:13:59 > 0:14:05Um, yeah, I mean, you know, when I was 19 I got a virus in my spine,
0:14:05 > 0:14:08which left me completely paralysed.
0:14:08 > 0:14:11It's called transverse myelitis.
0:14:11 > 0:14:14And, um...I've...
0:14:15 > 0:14:20I use a wheelchair now but I wasn't using a wheelchair for a few years.
0:14:20 > 0:14:25But, you know, I manage. I've developed ways of working.
0:14:27 > 0:14:31You know, I have other people helping me produce things,
0:14:31 > 0:14:33the very heavy work.
0:14:34 > 0:14:41But, you know, I can paint and draw and I can draw what I want,
0:14:41 > 0:14:44so I can describe what I want and draw it if I need to.
0:14:46 > 0:14:49But, yeah, it's not actually...
0:14:49 > 0:14:50stopped my work.
0:14:51 > 0:14:54I find it really difficult to figure out
0:14:54 > 0:14:57how my work would be different, actually, if I didn't have
0:14:57 > 0:15:01some of the physical difficulties because,
0:15:01 > 0:15:07literally, it happened just before I started college,
0:15:07 > 0:15:12so I've always worked with some physical restrictions.
0:15:14 > 0:15:15But I can't...
0:15:15 > 0:15:20I don't know, really, how my work would be different if I didn't
0:15:20 > 0:15:23because I can't really reverse time and I don't know
0:15:23 > 0:15:26if I would make different things
0:15:26 > 0:15:30or if my thought processes would be the same or, you know...
0:15:30 > 0:15:33If you're used to something, you don't think about it, really,
0:15:33 > 0:15:36you just get on with it, I guess.
0:15:37 > 0:15:41You know, even a person with a disability is multifaceted
0:15:41 > 0:15:44and they're thinking... You know, simultaneously,
0:15:44 > 0:15:47they're thinking about lots of other things as well.
0:15:47 > 0:15:49You know, they're thinking about their life,
0:15:49 > 0:15:53they're thinking about, you know, all sorts of things,
0:15:53 > 0:15:57so they're not just about their physical disabilities,
0:15:57 > 0:16:00it would be not entirely honest to just say
0:16:00 > 0:16:03that's the only thing I ever think about.
0:16:05 > 0:16:07I did The Picture Of Dorian Gray,
0:16:07 > 0:16:10which is Oscar Wilde's Picture Of Dorian Gray,
0:16:10 > 0:16:16because of my own body and I was interested in age and time
0:16:16 > 0:16:19and mortality and all those questions, so...
0:16:19 > 0:16:22And The Picture Of Dorian Gray is something that captures
0:16:22 > 0:16:27all of those issues that we think about in terms of life and death
0:16:27 > 0:16:31and ageing and so I find it fascinating.
0:16:33 > 0:16:37I think, you know, you're thinking about really compelling things
0:16:37 > 0:16:41that you want to do and you do them
0:16:41 > 0:16:44but until you've actually got that out of your system,
0:16:44 > 0:16:46I guess you can't move on, you've got to do it.
0:17:09 > 0:17:13It's good, yeah, they always look perfect, the costumes.
0:17:13 > 0:17:17Yinka uses really good costume makers.
0:17:17 > 0:17:20With the costume, it's become something else.
0:17:34 > 0:17:37We'll add two balloons, yellow and orange,
0:17:37 > 0:17:39and we can add them over this side here.
0:17:40 > 0:17:43There's small little pieces on the finger here
0:17:43 > 0:17:46that need to be just touched up and on the other side as well.
0:17:46 > 0:17:48Yep. Got those.
0:17:48 > 0:17:50I'll take this shoe away with me as well today
0:17:50 > 0:17:54and there's little studs in it that shouldn't be there
0:17:54 > 0:18:00and it needs to be dyed, the sole should be dark, yeah.
0:18:00 > 0:18:02We'll get rid of those.
0:18:02 > 0:18:04And the foot.
0:18:04 > 0:18:06The foot needs to be brought forward, yeah.
0:18:06 > 0:18:10- So it's sitting flat on the floor? Rather than lifted up?- Yeah, yeah.
0:18:11 > 0:18:14So the ball of the foot is forward.
0:18:16 > 0:18:17They're just calling me, so...
0:18:22 > 0:18:23Hello.
0:18:25 > 0:18:26OK. They've arrived.
0:18:33 > 0:18:36Hmm.
0:18:36 > 0:18:40I mean, I'll just stand back a bit.
0:18:40 > 0:18:41Let's have a look.
0:18:46 > 0:18:49Yeah, that's looking... That's looking good.
0:18:52 > 0:18:54I'll just have a look here.
0:19:14 > 0:19:17- So there's two more balloons to be added.- OK, yeah.
0:19:17 > 0:19:20So if we made those orange and yellow, maybe?
0:19:20 > 0:19:25- Orange, yellow and can you add a black?- Black?
0:19:25 > 0:19:26THEY CHUCKLE
0:19:26 > 0:19:28- Black, yeah. - Actually, you know what?
0:19:28 > 0:19:30I've changed my mind about black.
0:19:30 > 0:19:34The reason for that, actually, is that, the head being black,
0:19:34 > 0:19:40I thought that would be two blacks and I think that might be...
0:19:40 > 0:19:45Um... That will take away from the strength of the black down there.
0:19:45 > 0:19:48We just have a few little things that we're going to tidy up
0:19:48 > 0:19:50with the hands and then the foot also.
0:19:50 > 0:19:53So that the ball of the foot is flat on the base plate.
0:19:53 > 0:20:00At the moment, his heel's flat, but his ball is in the air.
0:20:00 > 0:20:02- Raising up.- OK.
0:20:03 > 0:20:06So it will give more weight to the foot if we...
0:20:06 > 0:20:08Or more balance to the foot
0:20:08 > 0:20:10if we can bring the ball of the foot forward.
0:20:11 > 0:20:14But I don't want it flat on the ground, though.
0:20:14 > 0:20:18I mean, the foot is OK kind of being slightly up like that.
0:20:18 > 0:20:23But surely if...if he was... If he was trying to balance on his heel,
0:20:23 > 0:20:25he wouldn't really be flat on his...
0:20:25 > 0:20:29- No, no, that's what I'm saying, I like it that way, it's good.- Mm.
0:20:29 > 0:20:30Phew!
0:20:30 > 0:20:34- I'm going to cross that off me list.- Yeah, it's good.
0:20:35 > 0:20:40I mean, I know that, you know, er, it's natural to want to think about
0:20:40 > 0:20:44what you could actually physically do.
0:20:44 > 0:20:47But, with an artwork, it's in the realm of fantasy,
0:20:47 > 0:20:50- it's not what you can actually physically do.- Yeah.
0:20:50 > 0:20:54So comparing it to what a person can physically do
0:20:54 > 0:20:56doesn't make sense for an artwork.
0:20:56 > 0:20:58Because it's not, you know...
0:20:59 > 0:21:03It's about doing the impossible, it's not about...
0:21:03 > 0:21:05It's not about the possible.
0:21:05 > 0:21:08- Got the heads all wrong, if you will.- Er, yeah.
0:21:13 > 0:21:15# VIP
0:21:15 > 0:21:17# Very important plastic
0:21:17 > 0:21:19# VIP
0:21:19 > 0:21:22# Very important plastic
0:21:22 > 0:21:23# VIP
0:21:23 > 0:21:26# Very important plastic
0:21:26 > 0:21:28# VIP
0:21:28 > 0:21:30# Very important plastic... #
0:22:02 > 0:22:06I wanted to do that at that time because...
0:22:06 > 0:22:08there was a lot of protest art.
0:22:08 > 0:22:12A lot of it was quite sort of miserable and dreary, really,
0:22:12 > 0:22:15and I felt that I wasn't miserable.
0:22:15 > 0:22:20Of course, I don't like what happened to my own history
0:22:20 > 0:22:23or African history or the history of colonisation
0:22:23 > 0:22:28but I was brought up in fairly comfortable surroundings in Africa
0:22:28 > 0:22:32and I wanted to poke fun, really,
0:22:32 > 0:22:36as opposed to being the victim.
0:22:36 > 0:22:41And I felt that, you know, just dress up
0:22:41 > 0:22:44and have a good time. That's the way to respond to it.
0:22:44 > 0:22:49So that's what I did. So I do have my own way of approaching things.
0:22:49 > 0:22:51You know, I think parody and humour
0:22:51 > 0:22:55is a good way to deal with some of these things.
0:22:55 > 0:23:00Um, I think it's nice to see, you know, other black artists
0:23:00 > 0:23:04doing very well. I think it's, you know...
0:23:04 > 0:23:07And, again, as somebody coming from Nigeria,
0:23:07 > 0:23:11it's not a particularly unique thing for a Nigerian
0:23:11 > 0:23:14because everyone's black in Nigeria,
0:23:14 > 0:23:17so, you know, if a black person does something,
0:23:17 > 0:23:19you just take it as normal.
0:23:19 > 0:23:22I mean, there's nothing... It's not news.
0:23:22 > 0:23:26But, of course, I understand that, in this context, it might be
0:23:26 > 0:23:30perceived as news but to see it as news is also
0:23:30 > 0:23:34a form of discrimination in a way because it's lowering expectations.
0:23:34 > 0:23:38But I don't mind being lumped together or not lumped together,
0:23:38 > 0:23:39as long as I am seen.
0:23:39 > 0:23:44So, you know, I'm quite happy with whoever I'm lumped together with.
0:23:59 > 0:24:01- Welcome.- Ah, Stephen.
0:24:02 > 0:24:04OK.
0:24:06 > 0:24:08Here we are.
0:24:08 > 0:24:12- Wow.- What do you think? - That's...looking good.
0:24:14 > 0:24:18Right at the centre in the front room, of course. Where you belong.
0:24:18 > 0:24:22Truly great, actually, that you've got it just...
0:24:22 > 0:24:25on its own in the middle.
0:24:28 > 0:24:30I think...yeah.
0:24:31 > 0:24:33Yinka, I didn't know this at the time,
0:24:33 > 0:24:37but he was trained as a painter at Goldsmiths
0:24:37 > 0:24:43and the first work I saw, really, was Double Dutch.
0:24:43 > 0:24:45It was like no other language I had seen in painting.
0:24:47 > 0:24:50This idea of painting on African textiles
0:24:50 > 0:24:53and playing around with patterns and paint
0:24:53 > 0:24:58and the juxtaposition of the two together really entranced me.
0:24:58 > 0:25:01Enough to...
0:25:04 > 0:25:07..reach out to him and to start a dialogue
0:25:07 > 0:25:09and that's really how it all began.
0:25:11 > 0:25:15I met Stephen at the beginning of my career and he kept faith with me
0:25:15 > 0:25:22and trusted me and that enabled me to do the most incredible things.
0:25:22 > 0:25:27Because, actually, someone Stephen discovering somebody like me...
0:25:27 > 0:25:30Then the work eventually goes into museums
0:25:30 > 0:25:36and that's what the general public will kind of see.
0:25:36 > 0:25:41So, um, I found myself in a showing in Trafalgar Square
0:25:41 > 0:25:42on the fourth plinth.
0:25:42 > 0:25:46You know, if I hadn't had that early support,
0:25:46 > 0:25:48none of that would have happened.
0:25:48 > 0:25:53And, also, just very basic emotional support.
0:25:53 > 0:25:57You know, kind of supporting you,
0:25:57 > 0:26:01even when you're coming up with crap ideas and your work is no good,
0:26:01 > 0:26:05there's a constant, there's somebody encouraging you
0:26:05 > 0:26:09when the work is bad also and also when the work is good.
0:26:09 > 0:26:13Actually, as a result of Stephen's support,
0:26:13 > 0:26:18I have been able to support a lot of younger artists too.
0:26:18 > 0:26:20I mean, I have a project space in my studio
0:26:20 > 0:26:24and I've shown over 100 artists, so they can do experimental work
0:26:24 > 0:26:25and so on.
0:26:25 > 0:26:28But I wouldn't even have been able to serve other people
0:26:28 > 0:26:32- if I hadn't have had that kind of support from Stephen.- It's...
0:26:33 > 0:26:38..exciting, it's fun, it's engaging.
0:26:39 > 0:26:42It's everything a work of art should be.
0:26:42 > 0:26:47Yeah, I mean, it's a celebratory piece.
0:26:47 > 0:26:51But I also wanted it to be, um...
0:26:51 > 0:26:54inclusive of everybody in the gallery,
0:26:54 > 0:26:58because, you know, it's the 20th anniversary of the gallery
0:26:58 > 0:27:03and so the globe head actually has names of all the different artists.
0:27:03 > 0:27:09So it's meant to be an inclusive piece but an exciting piece
0:27:09 > 0:27:13cos, after all, you can't have a party on your own.
0:27:13 > 0:27:16So you celebrate with others.
0:27:19 > 0:27:23I think that art movements are always made by others, really.
0:27:23 > 0:27:24Artists don't really...
0:27:24 > 0:27:26You know, you don't wake up and say,
0:27:26 > 0:27:29"I'm going to be in a movement today."
0:27:29 > 0:27:31No artist ever does that.
0:27:31 > 0:27:33I think people kind of lump you together and say,
0:27:33 > 0:27:36"Right, there you go, that's a movement."
0:27:36 > 0:27:43I'm very interested in exploring the poetical imagination more.
0:27:43 > 0:27:49A lot of the work, some of them would be childhood memories.
0:27:49 > 0:27:51They're kind of dreamy and quite surreal.
0:27:51 > 0:27:56And, yeah, so I don't quite know how that work will evolve
0:27:56 > 0:27:59because I'm only at the beginning of all that at the moment.
0:27:59 > 0:28:02So we'll see what will happen.
0:28:02 > 0:28:06MUSIC: I No Get Eye For Back by Fela Kuti