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21st Faith

We are a collaborative research project, investigating and questioning faith as a human feeling.  This publication presents 32 creative projects created for an exhibition in October 2017 at The Workshop, Lambeth. 

We are a collaborative research project, investigating and questioning faith as a human feeling. 

This publication presents 32 creative projects created for an exhibition in October 2017 at The Workshop, Lambeth. 

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<strong>21st</strong><br />

<strong>Faith</strong><br />

Creatives’ Exhibition<br />

and Research<br />

showcasing 32 creative<br />

projects questioning<br />

and investigating <strong>Faith</strong>,<br />

as a human feeling,<br />

for the <strong>21st</strong> century.<br />

Presenting the Work of:<br />

Anna Baumgart, Madeleine Duflot<br />

& Koa Pham, Deji Feyistan, Chantal Gagnon,<br />

Edward Green, William Green,<br />

Alexandra Gribaudi & Theodore Plytas,<br />

Simeron Kaler, Rebecca Lardeur,<br />

Nicole Leblanc, Leshan Li, Nico Limo,<br />

Subject, Sam McDermott & Nik Rawlings,<br />

Grace McLoughlin, Abi Moffat, Iara Monaco,<br />

Kelly Randall, The Recollector, Tess Rees,<br />

Jasmine Schofield, Louis Schreyer,<br />

Nicolee Tsin, Kevin Uchiha, Goodness Victor,<br />

Nina Vukadin, Patrick Walker, Sandy Wang,<br />

Larry Frederick Alan James Bizby-Weir,<br />

Henry Yang, Leda Yang, and Yusta.


Printed in 2018 in London<br />

Designer: Rebecca Lardeur<br />

Photography: Anna Baumgart, Theodore Plytas, Ella Fallows, Rebecca Lardeur,<br />

Jasmine Schofield, Subject, Yusta and Patrick Walker<br />

Font set in Monserrat (Google)<br />

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0<br />

International License.


A thousand<br />

thank yous,<br />

Thank you to all our financial contributors, for making<br />

this project a reality and believing in us.<br />

Monia Al-Haidary, Baboosha Paris, Alison Dawson,<br />

Andy Dawson, Martine Duflot, Dubois - Delibrias,<br />

Deborah Ford & Maurizio Gribaudi, Anne & Michel Franck,<br />

Stephanie Halna du Fretay, JMD, Catherine Lardeur,<br />

Lardeur Ventayol, Ganesha Lockhart, Hapax Legomenon,<br />

Ly, Amber Perng, Chris Plytas, Nicolas Raffin, Claire Randall,<br />

Laurence Rousseau, Peter Schreyer, Jack Smith,<br />

Heloise Ungless and all those who wanted<br />

to remain anonymous.<br />

Thank you to the team who built <strong>21st</strong> <strong>Faith</strong> from scratch.<br />

Rebecca Lardeur, creator and designer of the project,<br />

Ella Fallows, manager of the program and workshops,<br />

Madeleine Valcour, for her help in the exhibition design,<br />

Alexandra Gribaudi and Theodore Plytas, for their expertise<br />

and technical help in the building of the show.<br />

Thank you to The Workshop, Lambeth, for hosting us.<br />

And thank you to all the participants, for taking the time<br />

for this non-profit research collaborative project and<br />

contributing their time and money.<br />

This project owes you all its success.


Index<br />

Foreword<br />

What is <strong>Faith</strong> in the <strong>21st</strong> Century?<br />

Opening Night Photos<br />

Artists Talk Transcript<br />

Artists Works and Interviews<br />

Concluding Panel<br />

Behind the Scenes<br />

p. 9<br />

p. 11-16<br />

p. 17-21<br />

p. 23-32<br />

p. 35-105<br />

p. 107-109<br />

p. 111-113


Foreword,<br />

<strong>21st</strong> <strong>Faith</strong> started out of a desire to reposition and redefine<br />

the relationship between <strong>Faith</strong> and my generation. It felt to<br />

me there is a misunderstanding between what we are told<br />

and what we feel; the possibilities of <strong>Faith</strong> being hidden<br />

behind centuries of dogmas.<br />

I observed a gap between the dictionary definition of <strong>Faith</strong><br />

and its etymological origin, a narrowing of its meaning<br />

seemed to have taken place. Over a period of a few months,<br />

I discussed this with other young creatives throughout<br />

London, and it became obvious that I was not alone<br />

in my desire to question what <strong>Faith</strong> can and could be.<br />

Each of the participants first asked the question ‘What is <strong>Faith</strong><br />

for the <strong>21st</strong> century’ within their own perspectives, and their<br />

research and work culminated in 32 distinct creative projects.<br />

Coming together for this show allowed all of us to grasp<br />

the wider significance of <strong>Faith</strong> so often interpreted mainly<br />

within a theological framework.<br />

This publication presents our findings: an essay co-written<br />

by Edward Green and myself, a transcript of the Artists Talk<br />

held at the exhibition, images of the show and texts written<br />

by each participants about their pieces followed<br />

by their interviews.<br />

We hope this opens a new perspective on <strong>Faith</strong><br />

for our readers,<br />

Rebecca.<br />

9


What is <strong>Faith</strong> in<br />

the <strong>21st</strong> Century?<br />

by Edward Green<br />

and Rebecca Lardeur.<br />

Introduction<br />

The purpose of this essay is not simply an investigative or explanatory one,<br />

the purpose of this essay is strictly teleological: to redefine <strong>Faith</strong> within the <strong>21st</strong><br />

Century. This was the goal and brief each participant was given at the beginning<br />

of this collaborative research project: What is <strong>Faith</strong> in the <strong>21st</strong> century?<br />

35 projects were undertaken for <strong>21st</strong> <strong>Faith</strong>, each presented a wide variety of viewpoints<br />

and understandings on the subject of faith. This essay aims to summarise the individual<br />

findings and analyse their art pieces alongside various definitions of ‘faith’.<br />

The participants are mostly comprised of young, creative-thinkers from a diverse<br />

range of backgrounds. Each participant chose to approach the brief with a different<br />

outlook and through a different medium, which culminated in a healthy, varied range<br />

of responses.<br />

To create a common ground for the understanding of <strong>Faith</strong> in our research<br />

we looked at the etymology of the word ‘Fides’, established 3,500 years before year<br />

0 in the Indo-European language. Fides, in its Latin origins, means ‘to command,<br />

to persuade, to trust’. This, to us, implied a well-rounded, inclusive ‘feeling of <strong>Faith</strong>’,<br />

which resonated well within our contemporary context. It denoted <strong>Faith</strong> to be<br />

something felt, almost intrinsically, within the person themselves; a phenomenology<br />

of being. <strong>Faith</strong> is not something that can wholly be theorised in books and dogmas.<br />

<strong>Faith</strong> is, this paper argues, not only related to theology.<br />

This essay will repurpose the word of <strong>Faith</strong> as such throughout its development.<br />

First, a definition for a new understanding of <strong>Faith</strong> is developed according to the<br />

common themes presented at <strong>21st</strong> <strong>Faith</strong>. Secondly, the social aspects of <strong>Faith</strong> will<br />

be investigated to understand where <strong>Faith</strong> is expressed. The third will research the<br />

positive aspects of <strong>Faith</strong> before concluding on the challenges <strong>Faith</strong> can bring to the<br />

society of today.<br />

11


<strong>Faith</strong> for the <strong>21st</strong> Century<br />

The <strong>21st</strong> <strong>Faith</strong> projects researched <strong>Faith</strong> as understood by its etymological viewpoint<br />

(‘Fides’, defined as ‘to command, to persuade, to trust). This led most of the participants<br />

to view <strong>Faith</strong> as a feeling. Therefore, from an etymological point of view, one could<br />

be expected to question their emotions on questions of faith: where could one be<br />

persuaded? Where does one feel commanded? Where could one find trust?<br />

If <strong>Faith</strong> relies on emotions, then <strong>Faith</strong> may be first instinctively interpreted<br />

individually through an emotional level. To understand <strong>Faith</strong> for the <strong>21st</strong> Century,<br />

one may investigate the influence of <strong>Faith</strong> on the individual. What does <strong>Faith</strong> inspire?<br />

What does <strong>Faith</strong> bring? This paper will argue that, in the <strong>21st</strong> Century, <strong>Faith</strong> drives<br />

actions; <strong>Faith</strong> becomes identity, and <strong>Faith</strong> can evolve into truth.<br />

<strong>Faith</strong> defines actions; <strong>Faith</strong> drives actions. This theme is a key finding of our project.<br />

Feeling the raw power of <strong>Faith</strong> in the everyday, in purpose and desire, was investigated<br />

several times during <strong>21st</strong> <strong>Faith</strong> with one project using it as its main concept.<br />

Alexandra and Theodore’s thought-provoking piece asked the question: ‘How<br />

significant is <strong>Faith</strong>’s drive to motivate us in our work?’ Together, they used the brief<br />

to test their own <strong>Faith</strong> in the creative process. They used it to challenge their practice,<br />

focused on time and surface. See 21 , p. 80-83.<br />

What are the motivations behind actions? Do beliefs define the individual? How<br />

much can one achieve with the support of <strong>Faith</strong>?<br />

<strong>Faith</strong> can be harnessed to reach goals, going further than the expectations<br />

anticipated and help the individual and/or collective to have faith the action has<br />

purpose.<br />

<strong>Faith</strong> merges with identity; <strong>Faith</strong> can be heard as a call from within. The relation of faith<br />

to identity highlights how <strong>Faith</strong> can give courage and drive. <strong>Faith</strong> can be derived from<br />

an identity, as identity can be derived from <strong>Faith</strong>. However, with a new generation<br />

of people facing a faith-less pursuit of false identities in the <strong>21st</strong> Century, how can we<br />

be sure of <strong>Faith</strong>’s significance, and indeed its existence, in a new world of identities.<br />

Kevin questioned his own <strong>Faith</strong> in the anime culture and what the myths<br />

and narratives of anime brought him. Anime is considered a source of inspiration<br />

to Kevin, becoming a driving force to face his fears, to believe in the unbelievable,<br />

and to move forward at any costs. In this sense, Kevin found <strong>Faith</strong> within an identity;<br />

he felt an emotive response from a cultural set of values and used those values of said<br />

identity to motivate him in everyday life. See 7 , p. 50-51.<br />

Which identity can you create a bond with? How can <strong>Faith</strong> lay the path to a fulfilled<br />

identity? How can <strong>Faith</strong> help the identity grow?<br />

Myths, if understood as a collective knowledge stored in stories, help to guide the<br />

individual in understanding their position in life.<br />

<strong>Faith</strong> becomes truth; <strong>Faith</strong> as a moral compass. If what an individual believes in has<br />

the power to create the reality in which they experience the world, then <strong>Faith</strong> creates<br />

a bond between the person and their way of making meaning out of the world. To<br />

change the myth is to change the reality, because reality is malleable through stories.<br />

Grace’s piece investigates ancient knowledge to find the truth she feels,<br />

understanding faith as plural to invite compassion, especially in the women’s bodies.<br />

Ancient knowledge of the body can be merged with current views, adapted to fit<br />

today’s narrative, so as to embrace the past to reshape the future. See 1 , p. 36-37.<br />

What knowledge do you choose to believe in? What defines right and wrong?<br />

Does knowledge shape reality?<br />

If <strong>Faith</strong> becomes knowledge, then <strong>Faith</strong> shapes the world surrounding<br />

the individual.


Before continuing the exploration of the <strong>21st</strong> Century’s perception of <strong>Faith</strong>,<br />

and the differing artists’ responses to the question, we will briefly define <strong>Faith</strong><br />

as we are using it:<br />

<strong>Faith</strong> is not a word directly linked to theology or religious practices. It is a word used<br />

to describe our investment in certain practices and actions, emotional and physical,<br />

which shape our identities and lives.<br />

<strong>Faith</strong> and Social Dynamics<br />

During <strong>21st</strong> <strong>Faith</strong>, a keen interest in researching the cultural aspects of <strong>Faith</strong><br />

was expressed by many participants. This gave a layer to the understanding of <strong>Faith</strong><br />

as a collective phenomenon. <strong>Faith</strong>, when exhibited within a collective, needs to be<br />

organised, often with a set of myths, narratives, artefacts and rituals behind it. When<br />

the organisation becomes easy to share and interpret, those collective <strong>Faith</strong>s can be<br />

referred to as a ‘beliefs system’. The beliefs systems are behind many cultural habits.<br />

Is it an independent choice to decide what to have <strong>Faith</strong> in? How is <strong>Faith</strong> shared?<br />

How does <strong>Faith</strong> influence the social sphere?<br />

What seems common in the social aspects of <strong>Faith</strong> is its desire to answer<br />

the existential questions of why love, joy, pain and death exist, and to find solace<br />

in the need of feeling loved and to belong. This section will investigate <strong>Faith</strong><br />

as a binding contract, <strong>Faith</strong> as common goals and ideals, and <strong>Faith</strong> as a way<br />

for the individual to belong within the collective.<br />

<strong>Faith</strong> unites societies; <strong>Faith</strong> creates collective bonds. Through collective stories,<br />

different <strong>Faith</strong>s help to relate themselves to one and other, giving a sense of belonging<br />

and importance to those who understand them within their communities. <strong>Faith</strong> links<br />

people from differing social backgrounds by a common belief.<br />

Yusta’s project explores the death memorials left in the secular city;<br />

their ephemeral aspects filled with hope and unity crossing multicultural <strong>Faith</strong>s.<br />

Those memorials are often for the humans, not for Gods. The existential question<br />

of death humans have asked about for thousands of years have not yet disappeared<br />

and Yusta highlights their possibilities. See 6 , p. 46-49.<br />

How can faith make sense of these existential questions? Can faith be the binding<br />

link of communities?<br />

The collective understanding of those existential questions relating to love, purpose<br />

and death will help create new societies for the <strong>21st</strong> century.<br />

<strong>Faith</strong> is shared; <strong>Faith</strong> expresses itself through common goals and ideals. <strong>Faith</strong><br />

creates connections between communities and individuals, but how? Different<br />

<strong>Faith</strong>s, at their core, are often similarly comprised of people who want to be heard.<br />

Rituals, organised meetings and the re-telling of stories illustrate how <strong>Faith</strong> can<br />

be used to connect people.<br />

Through the investigation of rituals surrounding Christmas, Kelly highlights the<br />

influence of food within the relationships of the individual to families and communities.<br />

Food becomes a shared ritual. Kelly questions the role of the cook, the ingredients<br />

and the presentation of such rituals. How does one respond to artefacts of tradition,<br />

as opposed to tradition itself? See 22 , p. 84-85.<br />

What is the outlet of <strong>Faith</strong>? How is <strong>Faith</strong> materially shared within closed<br />

relationships? How is <strong>Faith</strong> materially shared to the broader communities?<br />

By sharing rituals with the collective, individuals connect to one another<br />

and develops identities.<br />

13


<strong>Faith</strong> is a bridge; <strong>Faith</strong> plays on the individual and collective to merge. <strong>Faith</strong> may be<br />

collective but is also relative to the individual’s perspective. Therefore <strong>Faith</strong> can be first<br />

questioned from an interpersonal understanding.<br />

Anna’s performance investigates this bridge. Through the example of clothes,<br />

Anna plays with the individual shape left on similar looking clothes, the individual<br />

is seen through the collective. Anna creates a mesmerising performance of such<br />

phenomenon. See 20 , p. 78-79.<br />

How does one subjectively interpret the collective <strong>Faith</strong>? What are the common<br />

grounds for the individual to fit in the collective?<br />

Understanding the individual’s role in the collective when it comes to <strong>Faith</strong>, is key<br />

to shaping a new <strong>Faith</strong> for the <strong>21st</strong> century.<br />

<strong>Faith</strong> within social dynamics helps the individual to cope with the existential questions<br />

of humanity, through rituals and shared acts that outwardly manifest collective<br />

knowledge. Furthermore this helps in the creation of social identities (community,<br />

subcultures, nations) and social bonds. <strong>Faith</strong> develops common goals and ideals,<br />

allowing the individual to establish him or herself within the collective.<br />

<strong>Faith</strong>’s Gifts<br />

Historically, theological <strong>Faith</strong> has had a significant and powerful impact on creating<br />

communities all over the world. <strong>Faith</strong>, over time, has always had a ‘uniting factor’<br />

to its definition, though it has not always been an inclusive one.<br />

In the <strong>21st</strong> Century, it seems as though the definition of <strong>Faith</strong> has shifted more<br />

towards a personal journey, one bereft of the theological ‘uniting’ of peoples.<br />

The projects presented at <strong>21st</strong> <strong>Faith</strong> reflect this idea. This brings questions on the role<br />

of <strong>Faith</strong> within communities and the social sphere.<br />

Although <strong>Faith</strong> has also led to many wars and discriminations in history, this section<br />

focuses on the positive aspects brought by <strong>Faith</strong> while the next will research<br />

the challenges brought by <strong>Faith</strong>. This section investigates how <strong>Faith</strong> can drive a vision<br />

to be achieved, the influence of <strong>Faith</strong> on trust and <strong>Faith</strong> as a catalyst for compassion.<br />

<strong>Faith</strong> focuses on a vision; <strong>Faith</strong> becomes a purpose in life. Once a belief becomes<br />

so important that the individual holds it as an absolute truth, then this precise faith<br />

becomes a goal, a purpose and will lead the individual towards the direction of his<br />

or her dream.<br />

Madeleine and Koa’s piece is driven by a desire to create an emotional bond<br />

with furniture. To do so, they explored their own emotional bonds and translated it<br />

into a piece of furniture to physically communicate their own <strong>Faith</strong>, developing<br />

a modular piece to adapt to the individual’s faith. See 26 , p.92-93.<br />

What can <strong>Faith</strong> do to help develop one’s vision? How is <strong>Faith</strong> expressed in<br />

the material world? What can the material world bring to <strong>Faith</strong>?<br />

Artifacts developed with <strong>Faith</strong> can help materialise a goal, springing from<br />

the personal to end with the collective. When it comes to creatives, <strong>Faith</strong> becomes<br />

an ideal to pursue.<br />

<strong>Faith</strong> establishes trust; <strong>Faith</strong> creates the ground to relate to one another. When <strong>Faith</strong> is<br />

openly shared and agreed upon, it activates a relationship of trust between individuals.<br />

This relationship of trust develops to identifying with communities and the social<br />

contracts based on shared goals and beliefs are discreetly settled.<br />

Nicole’s project takes on a journalistic take and investigates the building of <strong>Faith</strong>s<br />

in the Bahamas, where she was born. Nicole investigates the relationship of an official<br />

religion and how this implements in the daily life. See 5 , p. 44-45.<br />

Where is <strong>Faith</strong> exteriorised? How does <strong>Faith</strong> bind communities?


Symbols of <strong>Faith</strong> being spread around communities act as a reminder of trust within<br />

the members of such communities, taking the role of a pillar of culture.<br />

<strong>Faith</strong> springs compassion; <strong>Faith</strong> helps relate to one another. Through having <strong>Faith</strong>, one<br />

often finds a path towards compassion supported by trust. Compassion can blossom<br />

from an empathetic outlook, where one begins to see the perspective of another.<br />

Trust then creates the necessary ground finding common interests in their <strong>Faith</strong>s.<br />

Simeron’s project is guided by a desire to find self-acceptance by discovering<br />

another’s path, highlighting how <strong>Faith</strong> can spring compassion by understanding<br />

and following the path of another. See 2 , p. 38-39.<br />

What is the role of <strong>Faith</strong> in compassion? Can <strong>Faith</strong> help bridge the gap of the ones<br />

feeling left behind?<br />

The compassion brought by <strong>Faith</strong> has the power to ease the pain brought upon by<br />

connecting the pain felt with another’s, growing organically.<br />

<strong>Faith</strong> is powerful as it becomes a purpose, develops trust and compassion. <strong>Faith</strong> is<br />

often at the core of human relationships and interactions, so <strong>Faith</strong> in the <strong>21st</strong> century<br />

can become a tool for diplomacy.<br />

Challenging <strong>Faith</strong><br />

Although <strong>Faith</strong> can become the diplomacy tool helping humanity to connect to each<br />

other and give answer to the existential questions of humanity, <strong>Faith</strong>, as every tool<br />

has, is not naturally good or bad. It is the human using <strong>Faith</strong> that creates a good or<br />

bad framework (although good and bad should also be questioned on how these are<br />

defined). This require the human to always be slightly critical of the <strong>Faith</strong> he or she<br />

follows.<br />

<strong>Faith</strong> is always evolving; <strong>Faith</strong> should not be perceived as fixed. Time has seen many<br />

diverse authorities of <strong>Faith</strong> taking over each other, such as the animistic religions,<br />

the polytheistic ones and the monotheists. They have evolved with time and often each<br />

evolution takes a little from its past. The similarities between animistic and polytheistic,<br />

polytheistic and monotheist are easy to find. The evolution of <strong>Faith</strong> seems natural<br />

and so do its morals.<br />

Because <strong>Faith</strong> naturally evolves, it is necessary to always question the current ones<br />

if one wants to understand the <strong>Faith</strong> of tomorrow. Louis’ project question what he calls<br />

the Gods of Capitalism, to develop a new <strong>Faith</strong> more accurate to the needs of today.<br />

See 13 , p. 62-65.<br />

Should the past be listened to blindly? Can the current <strong>Faith</strong> be believed in<br />

without doubt?<br />

<strong>Faith</strong> affects our decision-making and therefore it is needed to question what<br />

we are told to do – is it correct to tell us to buy to be happy? Where is this <strong>Faith</strong><br />

coming from? Who does it serve?<br />

<strong>Faith</strong> changes its morals; <strong>Faith</strong> mirrors the current socio-political dilemmas.<br />

When questioning the morals of the current times, understanding past morals gives<br />

perspective to the dilemmas met throughout time by humanity. The question of death<br />

is what we can call an existential question asked by each generations known to written<br />

history. Although it seems in the <strong>21st</strong> century those past morals are often disregarded,<br />

what does this mean for our current social dilemmas?<br />

Edward’s project echoes the past myths to the reality of today, with the example<br />

of Ovid’s Echo and Narcissus. To investigate the social phenomenon of selfies, Edward<br />

questions the viewer on the validity of ancient wisdom and questions the modern take<br />

on narcissism. See 17 , p.72-73.<br />

15


Has the ancient myths still hold answers to the existential questions?<br />

Can we disregard thousands of years of wisdom put into the myths?<br />

<strong>Faith</strong> has had a history of giving morals to those who followed religious <strong>Faith</strong>s,<br />

answering social dilemmas of current affairs. <strong>Faith</strong> through myths and stories help<br />

the individual grasp the problem faced by many, but who do these myths serve?<br />

Which myths are still accurate? Critical outlook on those myths and updating them<br />

to the present is needed when tackling blind <strong>Faith</strong>.<br />

<strong>Faith</strong> infiltrates; <strong>Faith</strong>’s structure influences our relationships and lives. How faith<br />

is designed and physically represented within the collective has an impact on<br />

the individual’s life. Those boundaries intrude in the morals of the individual.<br />

Investigating the building of <strong>Faith</strong>, Leshan questions how the design of the religious<br />

space influence the human experience of his own personal space, destructing<br />

and reconstructing humans relationships and boundaries. See 24 , p. 88-89.<br />

What is the influence of <strong>Faith</strong> on space? What is the influence of such space?<br />

When the design of <strong>Faith</strong> is developed by humans, this will act as a catalyser<br />

for behaviours to adapt to it. The design of <strong>Faith</strong> brings a responsibility to the designer<br />

or artist to question the morals it gives to the community using such building.<br />

Because of the power <strong>Faith</strong> imposes us, creatives are required to be critical of the <strong>Faith</strong><br />

they themselves chose to believe in. Because <strong>Faith</strong> is always changing its evolution and<br />

new myths and morals should be ethically questioned. The past can teach the present<br />

but one should be aware to not blindly go back in the past but instead learn from<br />

the past to construct a new future.<br />

Conclusion<br />

<strong>21st</strong> <strong>Faith</strong> began asking the question ‘What is <strong>Faith</strong> in the <strong>21st</strong> Century?’. Analysing<br />

and synthesising the projects created for the exhibition, we discovered different<br />

qualities and sides to <strong>Faith</strong>. <strong>Faith</strong> offers drive, identity, and truth and therefore plays an<br />

important role in the shaping of human experience. <strong>Faith</strong>, when organised, can create<br />

strong social bonds, lead to new visions and bring trust and compassion. <strong>Faith</strong> evolves<br />

constantly, mirroring current socio-political dilemmas and influencing individuals’<br />

reactions to the outside world.<br />

The traditional structure of <strong>Faith</strong> has seemed to have shifted in the <strong>21st</strong> Century. <strong>Faith</strong><br />

is plural in its outlet, but universal in its form. At <strong>21st</strong> <strong>Faith</strong>, there were diverse interests<br />

and perspectives brought to discussion and yet they all stemmed from the same desire<br />

to follow one’s set of beliefs.<br />

This project has led us to believe that <strong>Faith</strong> is as strong as ever. Although it seems that<br />

fewer and fewer individuals choose to follow established religions and their dogmas,<br />

we feel that <strong>21st</strong> <strong>Faith</strong> brings the argument that <strong>Faith</strong> remains one of the most<br />

important questions, and also feelings, of the <strong>21st</strong> Century.


Opening Night<br />

20/10/2017,


19


21


Artists Talk Transcript<br />

22/10/2017,<br />

The Artists from <strong>21st</strong> <strong>Faith</strong> share<br />

the ideas behind their work<br />

and discuss the theme of <strong>Faith</strong><br />

in the <strong>21st</strong> Century.<br />

Discussion led by Ella Fallows.<br />

[everyone takes sit on Madeleine and Koa’s piece]<br />

Ella:<br />

Nina:<br />

Welcome to the talk we wanted to put together for<br />

the last day of this exhibition. We are going to kick off with<br />

Nina’s spoken word piece.<br />

My piece are the flags over there. I wrote this in a sort of<br />

meltdown mood in Serbia, but it fits to what <strong>Faith</strong> might be.<br />

<strong>Faith</strong> is a very strange concept for this day and age<br />

It doesn’t seem to fit in.<br />

It’s difficult to explained, difficult to rationalise.<br />

Something you believe in.<br />

So personal, so subjective.<br />

Personal and subjective.<br />

Words we don’t seem to hear or value from the authorities above.<br />

So instead of rationalising it,<br />

I am going to approach it from a personal perspective,<br />

And it won’t be the same for everyone,<br />

So don’t take it too seriously.<br />

What do I believe in?<br />

For me, faith is a belief,<br />

A drive behind a belief,<br />

Belief as an experience,<br />

Maybe that is <strong>Faith</strong>?<br />

23


But what do I believe in?<br />

I believe in change,<br />

Cities fall, systems fall,<br />

But actually everything is replaced with a similar mechanism,<br />

A human mechanism.<br />

We only see the world from our human perspective,<br />

So what change am I talking about?<br />

The change from within,<br />

That you can’t see,<br />

That you don’t hear about,<br />

The change of mood,<br />

The change of feel,<br />

The change of mood when entering an unfamiliar place.<br />

A happy change,<br />

A surprising change,<br />

An uncomfortable change,<br />

A panic.<br />

A change of feel,<br />

When the weather changes from sunny to grey.<br />

Wishing you had stay inside,<br />

Wishing you took the shorter route,<br />

Wishing you had seen that puddle,<br />

Wishing you hadn’t been on the street,<br />

Walking in cities show me these changes,<br />

How time and behaviour can alter spaces,<br />

The streets give me hope<br />

That the rationalise has not taken over,<br />

That there is things out of control.<br />

So bizarre,<br />

So irrational,<br />

Difficult to describe,<br />

Easy to feel.<br />

Walking in cities,<br />

Perhaps that is my <strong>Faith</strong>.<br />

[claps]


Ella:<br />

Rebecca:<br />

Thank you so much for performing that. Rebecca is the<br />

curator of <strong>21st</strong> <strong>Faith</strong>.<br />

Hi. So the idea for today was to have a conversation and<br />

bounce ideas with each other, as this was a project where<br />

everyone did personal research on the aspect of <strong>Faith</strong>, and<br />

what it meant to them. The goal [today] is to see what<br />

connects, what doesn’t connect, what are the limits,<br />

what are the possibilities… So, don’t hesitate, please,<br />

I want to hear everyone saying one sentence.<br />

It would make me very happy.<br />

[ambient noise]<br />

[Ella introduces artist Iara Monaco]<br />

Iara:<br />

So, when Rebecca first started talking about this project<br />

she told me her initial inspiration which was how <strong>Faith</strong><br />

used to be a uniting form in a community, it was what<br />

gathered people together and helped make improvements<br />

in the community. That didn’t resonate with me until I went<br />

to Bangladesh, for three months, and volunteered there.<br />

We had to go to these different communities and we went<br />

[and asked] them what challenges do you face, what can<br />

be improved in your community and always asked what’s<br />

the best thing about your community. They would all say<br />

the best thing about our community is unity. They lived in<br />

a collectivist society, where you wouldn’t see a homeless<br />

person in the street, because there would always be<br />

somebody to bring you in, and give you a home, take care<br />

of you, and make you feel part of a family. So that made me<br />

wonder, what can unite us as a whole? How can we combat<br />

things like climate change when there are still climate<br />

change deniers? How can we combat poverty when there<br />

are people who profit from it? So then, I found out about<br />

the Sustainable Development Goals which is this really big<br />

fancy word for something extremely simple: there are<br />

17 goals that the United Nations, a hundred and something<br />

countries, come together to discuss: ok so what 17 goals<br />

do we need, as a whole, the whole world, every country,<br />

to make the world better? To create a sustainable future<br />

25


that we can co-create by 2030. So I thought this sounds<br />

like a good start.<br />

[claps]<br />

[Ella introduces artist’s Alexandra Gribaudi and Theodore Plytas]<br />

Theodore:<br />

Alexandra:<br />

Theodore:<br />

Alexandra:<br />

Theodore:<br />

Alexandra:<br />

I guess our piece is about making, and how we find faith<br />

in making and persevering for my part.<br />

Yes, we were like let’s have a challenge for ourselves just to<br />

show how much faith there is in making, and how when you<br />

do art you really have to have faith in your process, and have<br />

an idea and be like ‘ok let’s do it’ so we started with the idea<br />

of making a hundred sculptures and a hundred photograms<br />

and then we just went with it.<br />

Alex comes from a Fine Arts background, which is more<br />

sculptural, and I come from a more photography background<br />

which is, I guess, simpler in a 2D way. We wanted to make<br />

a piece that would merge both sculptural and photography.<br />

We’ve been working together for a year now, and it is strange<br />

when you’re coming from different sides, although you have<br />

very similar ideas and interests and it comes naturally<br />

to work together. And we thought this project was a perfect<br />

way of really establishing and opening both of our practices<br />

to each other.<br />

When you have faith in something you have to sacrifice other<br />

things and when you work together you realise that nothing<br />

is going to never end up like you wanted to be and you have<br />

to find a middle ground.<br />

And I guess we are in a relationship, so, we have to sacrifice<br />

to be together, and that is what life is about.<br />

[laughs]<br />

Grace:<br />

Theodore:<br />

There is something about the scale of the work as well,<br />

you were talking about the process as being one that<br />

had faith, that faith was entangled in it, and I think because<br />

there are a hundred pieces, you did clearly put your faith<br />

to the test and you were really pushing yourself to the point<br />

where maybe you tested your faith in the project? As I feel<br />

like with every creative process, if the project is 6 weeks,<br />

6 months, 6 years, you have this constant existential crises<br />

from the beginning to end, [laughs], and I think it is<br />

interesting to talk about your personal creative process<br />

as one that whether faith was in the work or you two as<br />

a collaborative team or just the idea. I think it is important<br />

to make those things sacred as they’re hugely important<br />

to you as individuals and the processes. You can really tell<br />

that the process itself was quite testing. Because there are<br />

a hundred, it almost feels like a big journey.<br />

It felt like that too.


[laughs, claps]<br />

[Kevin Uchiha is selected to be the next one to speak]<br />

Kevin:<br />

Theodore:<br />

Kevin:<br />

Ella:<br />

Kevin:<br />

Ella:<br />

To go back on this piece in particular, I think what I enjoyed<br />

was the documentation of evolution, it is the evolved process<br />

of the shards of metal I am looking more at the correlation<br />

of the shape with regards to certain things that I can pick out<br />

from, but I do not know to what extent it was intentional<br />

and to what extent the shape would effect the final outcome<br />

at the very end.<br />

Thank you.<br />

With <strong>Faith</strong> to my take, as a concept, it is important. I think<br />

it comes in very different shapes and sizes, the most typical<br />

form of <strong>Faith</strong> amongst humanity is actually only found<br />

amongst the very precipice of defeat, so I think we only refer<br />

to faith as a tool when you have nowhere else to go.<br />

[Do] you think faith is a tool that should be used when<br />

people are very low and seeking it Or used when you are<br />

happy as well? As in it should not be used as like a panic<br />

button like ‘oh I’m going to find something to believe in<br />

because I am in a bad place?’ People should use faith a…<br />

Yes, with the best methodology to it. Especially with regards,<br />

let’s say technology being a huge variable today I think the<br />

inherit faith, the trust that is expected amongst corporate<br />

companies that we put into, let’s say Apple for example, you<br />

are trusting your bank account that tells you stuff, in a way<br />

it is evolving that we like it or not.<br />

I think this exhibition shows how varied the opinions<br />

and ideas surround one word. Grace you want to talk about<br />

your work? It would be interesting to hear as yours has<br />

something quite different to what we’ve talked about<br />

in terms of nature.<br />

[Ella introduces artist Grace McLoughlin]<br />

27


Grace:<br />

Ella:<br />

Grace:<br />

I am interested in the place of the body in traditional belief<br />

systems, particularly what happens when we think about<br />

the body and how it is represented in one of the oldest belief<br />

systems. You guys [Alex and Theo] are collaborating and<br />

you were talking about a sense of community, and I think<br />

that faith has been a very divisive thing as long as it existed.<br />

I think one of the reasons that has happened is because<br />

the major world religions are one of the monotheistic<br />

ones. So it sort of establishes this narrative where it is like<br />

you believe in this one thing, and that one thing is<br />

this thing we think is important. Any systems which regards<br />

this one thing immediately establishes this hierarchy where<br />

if you do not agree with that then you’re lesser. I think when<br />

we are talking about fostering communities and being<br />

sensitive and creative and joyful, it is better to talk about<br />

polytheistic belief systems. If everyone thinks about things<br />

in a linear way, we can’t talk about interconnectedness<br />

and making waves in communities rather than separate<br />

groups so everyone joining together and having fun,<br />

making things together…<br />

And sharing.<br />

And interacting with each other. So yes that is why<br />

I’ve included water as it was about fluidity and fusion.<br />

The dissolution of these old ideas to create a new slimy<br />

sticky thing.<br />

[laughs]<br />

[Ella introduces artist Yusta]<br />

Yusta:<br />

My piece is the pavement over there. It is about memorials<br />

people make in the streets. There is this new way of dealing<br />

with death but not related the traditional sense like<br />

a graveyard which is almost always related to religion but<br />

in this totally anonymous place that is the street. So for the<br />

people who put it these memorials there it is extremely<br />

personal, but then for the passer-by it does not really mean<br />

anything to them. It reminds them of death in a more general<br />

sense, and then with all these things there are there for<br />

a time and then eventually they disappear. They can’t be<br />

permanent. And if they were permanent they would be<br />

everywhere. We couldn’t deal with that, so it almost works<br />

in a way that they disappear with time. But then who takes<br />

them away? Eventually the council will come and will take<br />

it away, so how long do you decide a memorial should be<br />

there for? It is a difficult question and although we talked<br />

about faith and how it has moved away from religion, I think<br />

in a lot of ways there are actually basing it off the framework<br />

of religion. We still believe, even if you are not religious,<br />

you sort of believe in an after-life, or your material success,<br />

your legacy, is a new version of that. But it is basically based<br />

on the same sort of ideas. In a way I do not think we have<br />

quite yet find something to replace faith in the religious<br />

sense. We are kind of moving it into something else<br />

but slowly.


Grace:<br />

Yusta:<br />

Nina:<br />

I think that is interesting to say in terms of we’ve moved<br />

away from the faith in the religious sense. I think people are,<br />

whether it’s happening more or, moving away from faith<br />

in the religious sense and moving towards in a more spiritual<br />

sense and everyone has their own faith systems or belief<br />

systems that they can create themselves and it is less<br />

structured because ‘I referred to this book’ and this told<br />

me how to behave.<br />

But then faith only works, I feel, as a collective thing, when<br />

a large group of people believe in something together even<br />

if it is not religious, because it dictates the way things run<br />

on a whole, in a larger community, like in society.<br />

People need to have some sort of similar ideas for it to work.<br />

If everyone had a different set of faiths and morality<br />

it clashes a little bit.<br />

I do not think we are actually moving away from religion.<br />

I think London is a bit of a liberal bubble, but I think it is<br />

actually there is a huge rise of religion pretty much<br />

everywhere in the world. Especially when I went back home<br />

I forgot religion existed in London, and I had a bit of a slap<br />

in the face, that it definitely still exists. And it is strong.<br />

Doesn’t seem to be going away anytime soon.<br />

[ambient noise]<br />

Theodore:<br />

Rebecca:<br />

Alexandra:<br />

Nina:<br />

It is quite interesting that faith is so primitive that we’ve<br />

always had faith in something, whether that it is fire<br />

or something but then now it has become so boxed,<br />

in a way. So you were saying faith rhymes with religion, in<br />

fact faith can be something very abstract that you do on a<br />

daily basis that keeps you going. And I feel like we’ve all<br />

explored that quite well here.<br />

My grandad was very religious, and I think that faith<br />

is bigger than religion, and over the past two thousand<br />

years with the monotheistic religion that came in,<br />

we focused on our understanding of it and we, instead<br />

of broadening it we did the opposite, where monotheistic<br />

religion were the one to put the humans first, forgot<br />

about nature.<br />

I feel that sometimes we miss certain rituals and moments<br />

where we can, just be within, out of our life, and think a little<br />

bit bigger than our own selves. And maybe that is why there<br />

is a return to spirituality. We are looking for something<br />

that maybe our phones, our ways of life isn’t giving to us,<br />

you know?<br />

My grandma actually had a funny comment. She always<br />

claimed to be religious and I asked her ‘well grandma why<br />

don’t you go to the Church, why don’t we do more rituals?<br />

She was like ‘Nina, only the sinners go to the Church.’<br />

She was serious there.<br />

[laughs]<br />

29


[Ella introduces artist Louis Schreyer]<br />

Louis:<br />

I was thinking about faith and how religion used to control<br />

us in a way using fear and faith. <strong>Faith</strong> used to define our<br />

future, because having faith you can live your everyday<br />

life with a positive direction and when religion kind of lost<br />

power and governments took over. Therefore our behavior,<br />

our everyday is also directed by money. That capitalistic<br />

realism that we take these processes, those values behind<br />

capitalism, and they become our behavior. So rather than<br />

loving our next, or something, that would be a religious<br />

doctrine and now doctrines are to profit from each other.<br />

So I wanted to see how visual language can do this.<br />

These posters are in our everyday visions and they are kind<br />

of visual noise that we have. We have to deal with something<br />

we didn’t choose, and that has a very big subconscious<br />

impact on us and our future. They create our future.<br />

[claps]<br />

Ella:<br />

Louis:<br />

How did you take these ads? I really wanted to know.<br />

There are different ways getting them.<br />

[laughs]<br />

Louis:<br />

On the Piccadilly line, you can slide them out of the top,<br />

because there is a slit, and on the other lines you kind<br />

of need to put them on the side and put them out,<br />

they are really sharp.<br />

[laughs]<br />

Alexandra:<br />

Louis:<br />

How do you choose them?<br />

Well the project started off with a project in Israel actually.<br />

I started taking them down for that exhibition, and that<br />

was about language and how information is based<br />

on the transmitter and receiver so if I say something with<br />

an intention you might get that intention but you will<br />

interpret it based on your experiences and your knowledge


and so, I was wondering if I show these to people in Israel<br />

will they interpret them differently to us? So some that said<br />

‘working on the weekends’, ‘share with your neighbours’,<br />

or the one on the top left was ‘invest in brick and water’<br />

so everything was around that conflict.<br />

Alexandra:<br />

Yusta:<br />

Theodore:<br />

Rebecca:<br />

Louis:<br />

Alexandra:<br />

Yes that is funny because when you read them there is lot of<br />

positivity coming out but it is like when you know it is an ad<br />

then all that positivity is just fake. It is a big paradox.<br />

A lot of it is creating your identity based on the product that<br />

you buy. There is that one, travel insurance, or life insurance,<br />

an insurance that lets you keep your sense of adventure<br />

or something like that. As if you buy all the rights bits and<br />

bobs you can curate that version of yourself that is better.<br />

It is still making me think of religion as instead of focusing<br />

on an after life, and you’ve worked all your life so in the after<br />

life you will be rewarded in whatever way. It is like,<br />

now you work all your life so that you will be remembered<br />

in whatever way. Creating your legacy based on products<br />

and things.<br />

So what you have makes you who you are.<br />

And the graveyard is always a funny place to go to when<br />

you see who decorates it and who doesn’t. When you go to<br />

countryside and to the home town’s graveyards, you always<br />

have the ones which are three meters tall two meters wide,<br />

who was like photography embedded in a special kind.<br />

Next to it you have the ones with two words on it,<br />

then you also have the ones that have a lot of ‘to my beloved<br />

daughter’ ‘to my beloved ones’ and there are ten of them.<br />

Depending on who it is, as when you go to the military ones<br />

it is a lot more taking - the same grave over and over<br />

duplicated. When you go to the ones that are more<br />

community based and everyone did their own thing,<br />

you get an idea on their persona.<br />

In the end, the one grave that matters the most the one<br />

where the candle is burning. No matter how many pictures.<br />

All the flowers are still new and…<br />

[conversation keeps going, laughs]<br />

Alexandra:<br />

Rebecca:<br />

Would you like to talk about your piece Rebecca?<br />

Yes I haven’t actually. For my piece I really focused on the<br />

idea of action and how your personal faiths, not plural faiths,<br />

can be non religious. All human minds tend to be focused<br />

on something and take for granted without questioning,<br />

so when you’ve accepted that ten persons told you that red<br />

was nicer on your skin, you just keep on putting red.<br />

The project plays with this <strong>Faith</strong> to change the action<br />

in itself. So my piece is actually for my mum, who doesn’t<br />

recycle, when I’m there we recycle but I know very well<br />

that as soon as I’m gone they stopped recycling.<br />

My mum would always say ‘my personal impact will not<br />

31


change the planet’ but yes, change is supposed to come<br />

from yourself first. You can’t ask anyone to change if you<br />

don’t change yourself. was playing on it and I was looking for<br />

a way for everyone to do a little thing and that to become<br />

a bigger piece. My mum started recycling since the past<br />

three weeks. I’ve won my battle! My mum recycles.<br />

The amount of waste we produce is huge. So I knew this was<br />

a tool we could use, a material everyone would have at the<br />

private view, so I played with that, and today we can paint<br />

on it. The idea is to show the end result that was everyone<br />

taking their time to do a little thing, and how that little thing<br />

actually becomes something bigger and it is to play on the<br />

personal impact and play on your faith and stop thinking that<br />

personal action doesn’t have an impact on the collective.<br />

They do. They do big time.<br />

[claps]<br />

Ella:<br />

Rebecca:<br />

Thank you to everyone for coming. Thanks to Rebecca<br />

for putting on the show.<br />

Thank you to everyone. No one person could have make this<br />

a reality, it is a personal action creates a collective outcome.<br />

[claps - end of transcript]


33


Artists Works<br />

and Interviews,<br />

1<br />

Grace McLoughlin<br />

21<br />

Alexandra Gribaudi<br />

2<br />

Simeron Kaler<br />

& Theodore Plytas<br />

3<br />

Goodness Victor<br />

22<br />

Kelly Randall<br />

4<br />

Henry Yang<br />

23<br />

The Recollector<br />

5<br />

Nicole Leblanc<br />

24<br />

Leshan Li<br />

6<br />

Yusta<br />

25<br />

Iara Monaco<br />

7<br />

Kevin Uchiha<br />

26<br />

Madeleine Duflot<br />

8<br />

Patrick Walker<br />

& Koa Pham<br />

9<br />

Sandy Wang<br />

27<br />

Rebecca Lardeur<br />

10<br />

William Green<br />

28<br />

Chantal Gagnon<br />

11<br />

Deji Feyisetan<br />

29<br />

Sam McDermott<br />

12<br />

Jasmine Schofield<br />

& Nik Rawlings<br />

13<br />

Louis Schreyer<br />

30<br />

Abi Moffat<br />

14<br />

Subject<br />

31<br />

Nico Limo<br />

15<br />

Leda Yang<br />

32<br />

Tess Rees<br />

16<br />

AJ Bizby-Weir<br />

17<br />

Edward Green<br />

18<br />

Nina Vukadin<br />

19<br />

Nicolee Tsin<br />

& Leanne Vincent<br />

20<br />

Anna Baumgart


1<br />

Mama Cess,<br />

by Grace McLoughlin.<br />

As a maker interested in the importance of both spirituality and connectivity, the concept<br />

of <strong>21st</strong> faith was an exciting one. The exhibition itself was a great chance to see what<br />

conversations could arise in an open and inclusive space where people conceptualised<br />

their views/ideologies in relation to faith in the <strong>21st</strong> century. This multitude of viewpoints<br />

coupled with the feeling of openness and inclusivity was, I feel, the backbone of the show<br />

and these are valuable feelings to foster if we are to create more harmonious communities<br />

in this century. The welcoming environment was a perfect opportunity for me to test<br />

the participatory elements of my practice and to engage in discussion with both audience<br />

and fellow artist. Collectivity felt key to the show and the collective nature of the project<br />

is perhaps (hopefully) reflective of a broader more tolerant understanding of faith<br />

and a bigger investment in faith driven living for the future.<br />

Grace: gmcloughlin94@gmail.com


<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice<br />

Grace: My practice acts as a tool to navigate<br />

the mythic relationship between<br />

the (female) body and the earth.<br />

Employing various mediums, I attempt<br />

to allude to a space/time/spirituality that<br />

instead of being outside of contemporary<br />

gender and environmental discourses,<br />

pours through the conversational cracks<br />

and acts as a stinking agent in the (con)<br />

fusion needed to undo the damages of<br />

oppositional thinking. My practice aims<br />

to mimic this sticky slime and absorbs<br />

goddess myth, (eco)feminist theory<br />

and earth sciences to create a more<br />

fluid understanding of the body and its<br />

relationship with the earth in this present<br />

moment.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice? What role do you think faith will<br />

play in the <strong>21st</strong> century?<br />

Researching the representation of women<br />

and nature in historical belief systems<br />

is important in my work as it informs<br />

current views and offers examples<br />

we can steal from to shape more holistic<br />

relationships with our bodies and the earth<br />

in the future. An understanding of ancient<br />

and scientific myths surrounding women<br />

and the earth is central to my practice.<br />

I aim to re-present these myths in the hope<br />

of using them to re-examine the dangerous<br />

phallocentrism within monotheistic<br />

religions. <strong>21st</strong> <strong>Faith</strong> is a chance to propose<br />

an approach to faith that is inclusive,<br />

creative, intelligent and joyful.<br />

37


2<br />

Watching you Learn.<br />

2 Years of Self Belief,<br />

by Simeron Kaler.<br />

The Venus Figurines were the basis of my exploration for this project into faith in the <strong>21st</strong><br />

Century. The figures were considered by some to be the first form of religion in sculpture,<br />

depicting the goddess of Mother Earth. However another contrasting view was that they<br />

were the initial illustration of a self portrait; with the large proportioned curves due<br />

to the artist looking down at their own body when sculpting.<br />

I began exploring the modern day representation of this, the idea that we women were<br />

the figurines and the goddesses themselves. That we should be kind, worship and love<br />

ourselves.<br />

This self belief led me to explore how it related directly to my own life, as having this trait<br />

had never been something I had thought about or considered. I was taught this lesson<br />

when I witnessed someone very close to me grow. A journey of discovery, assertiveness<br />

and self confidence. It felt so special watching someone achieve this new found love<br />

and freedom, and developing a sense of faith in themselves, that it almost felt like I was<br />

experiencing it too.<br />

<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice<br />

Simeron: I’m a multi-disciplinary artist<br />

and designer living and working in London.<br />

My practice centres around honesty<br />

and story-telling. I am very interested in<br />

the perception of the female form,<br />

and am exploring the different ways<br />

that we can reclaim our body.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

The project of <strong>21st</strong> <strong>Faith</strong> is something<br />

different. I love the idea that such a wide<br />

range of practitioners are all exploring one<br />

theme, it’s very exciting. <strong>Faith</strong> links to<br />

the work I am currently doing on reclaiming<br />

ourselves as it’s about looking inward<br />

and having self-belief and love.<br />

What role do you think faith will play in<br />

the <strong>21st</strong> century?<br />

Hopefully it will increasingly unite rather<br />

than divide.<br />

Simeron: simeronkaler.com, contact@simeronkaler.com, @simeronkaler 39


3<br />

The Shadow of Death,<br />

by Goodness Victor.<br />

An exploration of suffering<br />

and the darker sides of the human<br />

experience within biblical text,<br />

expressed through a series<br />

of illustrations and poetry.<br />

The majority of my work starts<br />

with anatomy.<br />

For me it’s the level playing field<br />

beneath the skin.<br />

It’s beneath the layers of faith,<br />

of tribe, of skin, of opinion, of colour<br />

and of creed.<br />

Thorns.<br />

three times i pleaded with the lord.<br />

reference<br />

2 corinthians 12 vs 7-10<br />

english standard version<br />

three times i pleaded with the lord,<br />

for the cup of suffering to pass.<br />

yet thorns of pain found themselves,<br />

within the flesh of my skin,<br />

weighing heavy on these bones.<br />

grief found herself within my veins.<br />

pain found herself within my bones.<br />

three times i pleaded with the lord.<br />

joy finds herself within my veins.<br />

hope finds herself within my lungs.<br />

Goodness: goodnessvictor@gmail.com


Fear.<br />

the valley of the shadow of death.<br />

reference<br />

psalm 23 vs 4<br />

english standard version<br />

‘even though I walk through<br />

the valley of the shadow of death,<br />

I will fear no evil’<br />

even through I walk through<br />

dark valleys,<br />

upon dark valleys,<br />

my soul holds firmly to light.<br />

even when darkness engulfs<br />

this being<br />

and weak bones<br />

collapse<br />

upon weak bones<br />

my heart will fear no evil.<br />

even when light is<br />

but a distant memory<br />

even with the last breath<br />

from these blackened lungs,<br />

my soul holds firmly to hope.<br />

i will fear no evil.<br />

Exhale.<br />

if i make my bed in hell, you are there.<br />

reference<br />

psalm 139 vs 7-12<br />

new king james version<br />

if i make my bed in hell,<br />

the darkest of depths,<br />

you are there.<br />

where can my spirit<br />

run or hide?<br />

when these nerves are filled<br />

with fear,<br />

inhale<br />

you are there.<br />

when these veins are wrecked<br />

with loss,<br />

exhale<br />

you are there.<br />

<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice<br />

Goodness: I’m a designer, illustrator<br />

and poet. I’m a curious human by nature,<br />

constantly asking questions about<br />

the human condition. I question almost<br />

everything within the world around us -<br />

especially my faith. My practice consists<br />

of a mixture of visual design, illustration,<br />

screen printing and digital printing.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

I decided to participate in <strong>21st</strong> <strong>Faith</strong> after<br />

a conversation with Rebecca, the founder<br />

of the project. I was surprised by and also<br />

interested in the opportunity to discuss<br />

and challenge the idea of faith from various<br />

angles. My faith is super important to me<br />

and my practice. My faith filters into all<br />

aspects of my life and world view. It effects<br />

how are see things, how I interact with<br />

people and also how I view myself.<br />

The most powerful aspect of my faith<br />

is the understanding of love. Love that is<br />

long suffering, love that doesn’t keep<br />

a record of wrongdoing, love that is patient<br />

with all people, even beyond my own<br />

human ability. Because of this my faith is<br />

key to my practice. It is key to how<br />

I interpret concepts and ideas, and is often<br />

the foundation of my work.<br />

What role do you think faith will play in<br />

the <strong>21st</strong> century?<br />

I think faith will continue to play a key role<br />

in the <strong>21st</strong> century. Our ancestors have<br />

always believed in something. I think faith<br />

enables societies to continue to hope<br />

and look towards the future, whether<br />

is faith in a deity, or faith in family and<br />

community or faith in the unknown,<br />

faith conjures up hope. The ability to hope,<br />

for me, makes me most human.<br />

41


4<br />

Lilium,<br />

by Henry Yang.<br />

Lilium is an exploration of the relationship between the Fibonacci Sequence and life.<br />

Measuring two meters tall, this life sized window encapsulates light itself and evokes<br />

the ideals of innocence, humility and devotion.<br />

Lilium uses the allegory of light and the way light behaves when passing by solid objects,<br />

to create a realistic grounding of the abstract. The form of the window and its relation<br />

to stain glass is an inference to the “Divine Light” which is filtered through these windows.<br />

The shapes and patterns in it connect and allude to the Divine Proportion, Phi<br />

and golden ratio.<br />

A further reference is made to the image-laden culture which drives our everyday world,<br />

from pixels on a screen to the ubiquitous use of imagery in advertisement to selfies,<br />

and the way in which these images are organised in our world, either physically<br />

or digitally, often forming a grid, or pattern, within which windows to other worlds<br />

and perspectives can be seen. The effects of refracted light and blurred colours, remind<br />

the viewer that our vision of today and of the future is foggy and malleable, and as such<br />

the likenesses of window panes in my work reference man’s attempts at making sense<br />

of the past, comprehending the present and peering into the future.<br />

Henry: henryyang.co.uk, info@henryyang.co.uk, @henryyangart


<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice<br />

Henry: With scientific & technological<br />

advancements leading the way in<br />

which people perceive reality, patterns,<br />

coincidences & chance occurrences<br />

surfaced as key concepts in my work.<br />

A common element that runs throughout<br />

my is that of the mathematical Phi, the<br />

source ratio which was defined in the<br />

3rd Century BC by Euclid in Elements,<br />

otherwise known as the “Golden Ratio”. Phi,<br />

along with Pi, the circular constant, appears<br />

as repeated fundamental patterns in the<br />

universe.<br />

A further focus is on the allegory<br />

of light. The work examines the way light<br />

refracts through glass, to create a realistic<br />

grounding of an abstract image. The form<br />

of the window & its relation to stained glass<br />

is a reference to the “Divine Light” which<br />

passes through windows at places of<br />

worship. The work is a comment on the<br />

powerful way in which elements can be<br />

ideologically transformed.<br />

Finally, a reference is made to the<br />

image-laden culture which drives our<br />

everyday world, from pixels on a screen<br />

to the ubiquitous use of imagery in<br />

advertisement to selfies & the way in<br />

which these images are organised in our<br />

world, either physically or digitally, often<br />

forming a grid, or pattern, within which<br />

windows to other worlds & perspectives<br />

can be seen. The explosion in imagery as<br />

a result of digital media has transformed<br />

the manner in which humanity as a species<br />

operates; an examination & criticism is<br />

made through the use of blurred & opaque<br />

window panes, as well as their lack of a light<br />

source. Ironically, they are windows through<br />

which no physical light enters, but instead<br />

dependent on external light sources.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

I was drawn to <strong>21st</strong> <strong>Faith</strong> as it explored a<br />

theme that is fundamental to my practice.<br />

The idea of incorporating a religious<br />

aspect to artwork was something that has<br />

dominated art history, with religion being<br />

central to daily life prior to the <strong>21st</strong> century.<br />

As theories such as the big bang came<br />

to be accepted, many religious explanations<br />

to our existence have became somewhat<br />

discredited.<br />

The fundamental question of all<br />

discourse is “why”. While scientific<br />

advancement and new theories have always<br />

been able to serve as an expansion on what<br />

we know, and also to allow humanity to<br />

experience and understand things that exist<br />

on ever smaller, and ever larger levels, the<br />

question of why these things are the way<br />

they are have never been fully addressed.<br />

In Parallel, art has become ever more<br />

simplified, made on an ever larger scale,<br />

with minimalism and conceptualism<br />

the prevailing, dominant forces in art<br />

theory. Yet “why” has not been explored<br />

in great detail, possibly as it is difficult to<br />

do so, both in philosophical and scientific<br />

discourse, as well as in art.<br />

To answer a question as fundamental<br />

and basic as a “why”, which serves to<br />

question all things, including itself, an<br />

omniscient question, a similar basic,<br />

fundamental, answer would simply be<br />

“everything”. The meaning of this answer<br />

is that the importance, perspective and<br />

positional qualities of all things hold<br />

equivalent significance, whether it be<br />

chewing gum stuck to the floor, or<br />

the Queen’s diamond tiara, both are made<br />

of simple matter, and both are equally<br />

conversable into a sum of energy. Both are<br />

equal, and different. It is humanity that has<br />

placed one above the other.<br />

What role do you think faith will play in<br />

the <strong>21st</strong> century?<br />

Religious perspectives and ideologies will<br />

filter into scientific discourse over time.<br />

Philosophic enquiries and the exploration<br />

of the human mind cannot be accomplished<br />

entirely through purely scientific means.<br />

A cross-fusion of different aspects<br />

of all faiths should be something to be<br />

expected and encouraged. There will be a<br />

reexamination and redefinition of the word<br />

“god” into a meaning less akin to a higher<br />

power to which we are helpless but rather<br />

as a word which encourages acceptance<br />

and non discrimination of all things.<br />

43


5<br />

The Just Shall<br />

Live By <strong>Faith</strong>,<br />

by Nicole Leblanc.<br />

As an officially Christian nation, in the Bahamas faith isn’t just a formality,<br />

but an intricate part of government and daily life. Christianity is named as the country’s<br />

founding religion, and 20 Christian denominations have active churches throughout<br />

the country of 350,000 residents.<br />

The form of a place of faith can often reveal much about the area, when separated<br />

from the grand institution of the Church, how do the constraints of geography, money,<br />

labour and architecture shape the way people practice faith?<br />

<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice<br />

Nicole: I was born in the Bahamas<br />

in 1994, and my British and Bahamian<br />

heritage informs my work, using the<br />

photographic image to document the space<br />

between these two places. I find that the<br />

confrontation of the separate environments<br />

gives light to complex interdependencies,<br />

informing the way I understand how<br />

to create objects and images.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

As a non-religious person, what drew me<br />

to take part in <strong>21st</strong> <strong>Faith</strong> was simply an<br />

interest in the role religion plays in our<br />

society. I believe that faith is a powerful<br />

engine of hope, and acts as a source<br />

of stability for people who experience<br />

a lot of uncertainty. Using photography<br />

to document houses of faith, allows me<br />

to understand the nature of faith<br />

in my community.<br />

What role do you think faith will play in<br />

the <strong>21st</strong> century?<br />

I believe that faith will play an extremely<br />

important role in the <strong>21st</strong> Century, just as<br />

it always has, and like it always will.<br />

As much as we would like to think that<br />

science and logic explains the way we<br />

behave and what we do, it often ignores<br />

the fact that humans are spiritual beings,<br />

and that we want more then just material<br />

gains. We do not make decisions just based<br />

of self interest, but also of a set of beliefs,<br />

of what we feel is truthful.<br />

Nicole: nicoleleblanc.net, nicoleleblanc10@gmail.com, @ _nicoleleblanc 45


6<br />

Someone,<br />

Some Street,<br />

by Yusta.<br />

The City as Memorial<br />

As I move through the streets, on certain corners, at certain crossings I see pink,<br />

red and yellow petals, wrapped in brown paper, clear plastic or just a black bin bag, tied<br />

to street lamps. Some are fresh, facing the sky, taking in water from a halved water bottle.<br />

A laminated portrait and a short message sit unblemished between stalks. Others are<br />

a little older, the leaves have turned brown, with petals scattered across the pavement,<br />

waiting to be swept up by the street cleaning machine’s revolving brush. On others<br />

condensation has made the ink bleed and those tender words are lost in the surface<br />

an object on its inevitable path to becoming rubbish.<br />

Knocked off their bike, caught on a crossing, stabbed or shot. Victims of the city,<br />

those that passed away in the streets, on the concrete, they are immortalized on that<br />

same spot. It is a reminder that this is not just any street, not just some everyday piece<br />

of pavement, but a place of significance.<br />

I find myself cycling around a roundabout on the edge of the city, as I roll around<br />

it’s curve, I pass a bike chained to the railings, painted entirely in white, even the chain,<br />

caked and stiff, unable to turn again. I keep rolling; I pass another, and another. Cars zoom<br />

by, coming off the motorway slip road into the city, this visual code makes the danger<br />

of this place tangible, I slow the rotations of my wheel, I come off and head down<br />

the canal, away from all that past destruction.<br />

It is a cool spring morning and I’m walking through the park that my house edges,<br />

an oak tree sits at the far end, between two rows of terrace houses. As I draw closer,<br />

I see ribbons running up the tree’s trunk, red and gold on rough bark. Flowers<br />

and messages crowd the wet grass, pushing up against the bottom of the trunk.<br />

A single image is stapled to the bark, a young boy; he’d been stabbed a week before,<br />

I’d heard. I stand for minute looking at these offering of memory, trying to construct<br />

an image of this person, who I was learning the existence of in the same moment<br />

I was learning of their death. But it not long before I start to feel awkward, feeling wrong<br />

to linger. In the midst of someone else’s pain, I am a visitor, an onlooker, a rubbernecker.<br />

I keep walking, entering the underpass, its brick walls are dressed in a pastel scrawl.<br />

Chalk lines draw out messages, goodbyes or simply the boys name, written large and bold<br />

in the handwriting of children, teenagers and adults alike.<br />

I pass these memorials on my familiar routes; with each day I see them slowly dissolve<br />

into the urban skin. They cannot last, the city could simply not bear the weight of it all,<br />

or be reminded too often, if it is to consider itself first and foremost a place of life.<br />

No, they must disappear, all trace eventually confined to the minds of those who<br />

intersected with these events, one way or another.<br />

Death often reminds us of the importance of life, a cliché but a truism nonetheless.<br />

I passed by the tree memorial on the estate the other day. I have since moved house,<br />

and this is path I rarely tread these days. It’s been almost two years now but the memorial<br />

still stands. Most of the flowers have all but disappeared, instead two large white t-shirts<br />

with the boy’s face and name in their center are now are pinned to trunk with gold tacks,<br />

bright on an otherwise dreary autumn day. The tree is secluded between eight terrace<br />

houses, all of which have a kitchen window facing the tree.<br />

To find these markings in our streets, reminds us that public space is not simply<br />

utilitarian, and though it may not feel like it, the city is shaped by us. That is to say,<br />

as we live and die we continue to give it form.<br />

Yusta: cargocollective.com/gostamakes, contact.gosta@protonmail.com, @g.o.sta


<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice. What drew you to take part in <strong>21st</strong><br />

<strong>Faith</strong>? How is faith important to you and<br />

your practice? What role do you think faith<br />

will play in the <strong>21st</strong> century?<br />

Yusta: I have never had an organized faith,<br />

though born into an officially Christian<br />

‘Church of England’ state; religious faith<br />

has gradually faded from my bloodline<br />

and in truth I have never truly interacted<br />

with this aspect of my country’s culture.<br />

It manifested itself in pseudo-religious<br />

holidays such as Christmas or Easter, times<br />

to express community and family, yet also<br />

these are times co-opted by consumerism.<br />

The classification of England by a religion<br />

also fail represent the many other faiths<br />

that exist in tandem in England. Religious<br />

faith is a concept that I have always found<br />

conflicting, it has both brought people<br />

together and torn them apart<br />

in all iterations. In my work I hope to<br />

explore further how different forms of<br />

faith can co-exist and strengthen one<br />

another whilst not losing their identity in<br />

the process. In my work exploring the city,<br />

conflict and tension are ever present,<br />

but I believe, not insurmountable.<br />

However faith does not represent<br />

religion alone. It manifests itself in all parts<br />

of life, and is often experienced as an<br />

emotion that as a fixed concept. We have<br />

faith in one another, in community, family<br />

and the future. Many people, especially<br />

in the western world, have lost connection<br />

with their religion. How can it be replaced?<br />

Political apathy and mistrust are strong,<br />

many people feel in Britain feel that they<br />

have been betrayed by the ruling elite,<br />

that they cannot trust these people<br />

and thus can there cannot be faith.<br />

Though I had a childhood where the<br />

Internet existed on the fringe, in my<br />

adolescent years social media began<br />

growing exponentially as a social force.<br />

As first it seemed as though it could<br />

connect us all, but as it has been said<br />

‘Technology allows us to keep in touch<br />

whilst keeping as a distance.’ While I feel<br />

this to be true, there are also many that<br />

found faith in communities online, where<br />

technology allowed them to reconnect with<br />

faith where it lacked in the rest of their life.<br />

Community in the urban fabric has also<br />

increasingly been broken down. People<br />

learnt to stay inside and to mistrust their<br />

neighbor, moving house every few years,<br />

as so gated communities and faceless glass<br />

high-rises grow around them.<br />

Where can we find faith in today’s<br />

world, if not in a system of religion, politics<br />

or community? I believe faith comes from<br />

the fact that so many others have also<br />

asked the same question. That despite all<br />

of the forces that seek to degrade our faith,<br />

we still search for it. <strong>Faith</strong>, for me,<br />

is something that exists outside of any<br />

system or classification. Our society<br />

changes and familiar institutions disappear,<br />

we find that we are different from one<br />

another in so many ways. Yet I believe that<br />

if we communicate with one another we<br />

can find new ways to affirm our faith. Art is<br />

one of many ways in which this discussion<br />

can be begin and be expressed. Technology<br />

is an unstoppable force at this point, the<br />

idea of going back to some internet free<br />

world is a dream.<br />

49


7<br />

Untitled,<br />

by Kevin Uchiha.<br />

The reality of Manga projection is non-voluntarily indulging hands and knees deep,<br />

into a backlog of unjustified self-doubt, either through questioning of self or exterior<br />

variables affecting the outlook of (A) fan; i.e Bullying. And as a result, their solitude<br />

to the cause of the religious investment they go through is considered to be faith.<br />

Momentum progresses, gestural operation of movement in focus of victory within<br />

violence. A record of faux battle. Substituting a preference of 2D entertainment with<br />

a-present human being. The confidence of Shónen genre is self-consistent. It doesn’t rely<br />

on westernised defecation to provide a backbone of projected heroisms, Mangaka’s<br />

have already perfected the craft.<br />

<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice<br />

Kevin: While studying fashion design I felt<br />

I was led to the idea that its necessary<br />

to combine fascination of Shonen<br />

orientated characteristics in an curated<br />

setting that suggested collaboration<br />

in presentation amongst other peoples<br />

work.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

I’ve been asked to be a part of it, I had<br />

an idea, I felt it was necessary in relation<br />

to faith.<br />

What role do you think faith will play in<br />

the <strong>21st</strong> century?<br />

To get to the core of the problem.<br />

Relying on the moment you require<br />

adrenaline to inform your decision<br />

to let faith do it for you.<br />

Kevin: facebook.com/liluzikevin 51


8<br />

Chimera,<br />

by Patrick Walker.<br />

The Chimera project developed from a series of installations. The two previous works<br />

were aimed at producing an insight into the conflict and inequality in the urban<br />

environment of London. This third instalment follows the same pathway. In this case<br />

I toured the metropolis in search of lavish new-builds that provide the owners of capital<br />

with their aspirations for riches to dominate the skyline. Roaming through Vauxhall<br />

and Canary Wharf to North Greenwich and West Silverton gave me an overview<br />

on the capital city’s present-day ideas. What I found was the sight that is dominant<br />

throughout the city, which is that of large glass monuments that idolise yet contradict<br />

the idea of prosperity. This is a fabric of dreams for most, reality for a few. Behind<br />

the façade there is no substance. The dream is a chimera. <strong>Faith</strong> appears exploited,<br />

particularly when new developments sit on the sites of the homes, or places<br />

of work of ordinary people displaced by the march of greed.<br />

The Chimera project and the two previous series’ of works are aimed at portraying real<br />

life debates that question our present and future world, often in contrast to the past.<br />

I feel that art cannot be truly value-free. This compels me to visually display<br />

my interpretation of what I have witnessed. <strong>Faith</strong> can be in something illusory.<br />

Once this is shattered our own beliefs can be transformed. I have grown up living in<br />

the city of London and its suburbs, experiencing both sides of its life. When I lived<br />

in the suburbs the sensual lure of the shiny skyscrapers in the city was seductive.<br />

Through witnessing the privatisation of space and the destruction of less privileged<br />

communities, my view has been radically altered.<br />

Patrick: patrickflannerywalker.com, @patrickflannerywalker


<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice<br />

Patrick: The grit and glamour of cities<br />

intrigue me. Examples of the man-made<br />

world of urban landscapes, spaces<br />

and mechanically constructed objects<br />

are abundant in my practice. I am attracted<br />

to the stories that are told through the old<br />

and new fabric of human developments.<br />

I weave into my work on urban landscapes<br />

the people who are its inhabitants, and<br />

whose lives are shaped in part by their<br />

environment. In spite of the bustle of<br />

the metropolis, I often find tranquillity<br />

roaming around London, my home city,<br />

and other spaces. I aim to portray real life<br />

debates that question our present and<br />

future world, often in contrast to the past.<br />

Man-made and natural aspects of the urban<br />

landscape are often the antithesis of one<br />

another. My work stems from these and<br />

other ideas. Photography, installation,<br />

film and painting are among the media<br />

that I use. The camera is my most used tool,<br />

yet I am not always satisfied with just the<br />

image. I feel the need to experiment<br />

in mixed media, and new techniques.<br />

I want to push boundaries.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

I was drawn to take part in the <strong>21st</strong> <strong>Faith</strong><br />

project because the word faith has such<br />

a wide-ranging meaning. <strong>Faith</strong> can be seen<br />

as a confidence or trust in something,<br />

for instance the religious belief in the faith<br />

of god. The certainty that revolved around<br />

religious faith had been questioned and<br />

proved wrong by scientific discovery but<br />

nonetheless, blind faith in religion persists.<br />

It brings solace to some, subjugates many,<br />

and polarises communities. For many<br />

of us, however, faith may be the belief<br />

in ideals such as peace or equality, or in<br />

a system such as ‘capitalism’ which has<br />

been a magnet to aspiring entrepreneurs,<br />

and to those whose ambitions lie in<br />

consumerism, glamour and greed.<br />

For some the faith is to rise from the gutter<br />

and land in the glitter.<br />

<strong>Faith</strong> can be in something illusory.<br />

Once this is uncovered our own beliefs<br />

can be transformed. I have grown up living<br />

in the city of London and its suburbs,<br />

experiencing both sides of its life.<br />

When I lived in the suburbs the sensual<br />

lure of the shiny skyscrapers in the city<br />

was seductive. Through witnessing the<br />

privatisation of space and the destruction<br />

of less privileged communities, my view<br />

has been altered. The faith I once had in<br />

the glamour dissipated as I realised it was<br />

a chimera. Something real, solid and more<br />

egalitarian is worth building faith around.<br />

As much of my work illustrates both the<br />

illusion and its destruction, participating<br />

in <strong>21st</strong> <strong>Faith</strong> has resonance for me.<br />

What role do you think faith will play in<br />

the <strong>21st</strong> century?<br />

I would like to think of a future where<br />

mankind could find common ground<br />

and turn away from a faith that pits culture,<br />

religion, and groups against one another.<br />

Sadly, the current climate in many parts<br />

of the world are showing no signs of this.<br />

Young people in Britain are demanding<br />

a greater voice as their needs have so often<br />

been ignored. The same is true of the poor,<br />

whose needs have been blatantly labelled<br />

as not worth bothering about. We should<br />

be able to enjoy good things. Culture,<br />

food, possessions, sport and the aesthetic<br />

qualities of life without a need to be<br />

in a club which excludes those who do not<br />

share whatever the faith may be.<br />

I think faith will have both positive and<br />

destructive effects in the <strong>21st</strong> century. There<br />

are politicians, and communities with such<br />

differing views that clashes between two<br />

parties is unavoidable. Although this may<br />

be so, I hope for a world with the complete<br />

belief or faith in peace.<br />

53


9<br />

The Exorcist Set,<br />

by Sandy Wang.<br />

<strong>Faith</strong> functions as a bridge from the last generation to the next; it brings forth traditions<br />

and culture that people had been practicing. Combing through history, the 70s saw<br />

the rise of the horror genre in cinema, notably the classic cult film - The Exorcist. I chose<br />

this iconic film as the project’s subject due to its spiritual themes, exploring how fear<br />

in pop culture could act as a medium to influence the public of their faith.<br />

<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice<br />

Sandy: I’m an illustrator and designer!<br />

I enjoy translating complex ideas<br />

and concepts to digestible visuals for easy<br />

understanding; like emotions and data.<br />

Some of my works can also be pretty dark,<br />

and ironic too.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

I like the idea of discussing faith with<br />

the recent events that happened over our<br />

century. ‘<strong>Faith</strong>’ is relatable and close<br />

to heart to everyone; whether you have<br />

one or not. It’s important to me, because<br />

it helps me to drill deeper and understand<br />

my own values, which also open the stage<br />

for anyone to be part of this conversation.<br />

What role do you think faith will play in<br />

the <strong>21st</strong> century?<br />

<strong>Faith</strong> functions as a bridge from the last<br />

generation to the next; it brings forth<br />

traditions and culture that people had<br />

been practicing. So, I guess it’ll continue<br />

to play that part as the world evolves<br />

simultaneously, I think faith would always<br />

be a catalyst of something big.<br />

Sandy: fartsforart.com, @sandyplayig 55


10<br />

U reckon the devil<br />

is vegan?,<br />

by William Green.<br />

In my opinion, one of the fundamentals of art is for people to decipher their own meaning<br />

from works before (if ever) exposed to that of the original artist. With a specialty such<br />

as art that has such an undefined purpose, it is important for other people to take what<br />

they can from it, before they are told what to make of it. With this in mind my personal<br />

explanation of my work will ruin any form of intelligent pre conception that may<br />

have projected onto it. If I could, I’d give 0 insight regarding my piece.<br />

The work is derived simply from wordplay. I have taken the modern meat substitute,<br />

‘Seitan’, and formed a brash satanic symbol from it. That’s all the viewer is truly getting;<br />

a gimmick.<br />

Seitan, originally developed by the Japanese, later adopted by America, has recently<br />

become popular within the vegan community. It is a form of gluten that can be yielded<br />

by sifting dough through water over an elongated period of time to eventually resemble<br />

the texture of meat. It is then seasoned and decorated as if it were anything from fried<br />

chicken to sausages.<br />

I don’t come from an artistic background as such, and have never had the opportunity<br />

to explore a purely conceptual idea without it having a direct function, as is with art.<br />

This being my first on a public scale, I decided to poke fun at the idea, by creating<br />

a piece of work that involves obvious symbolic and aesthetic triggers, however with<br />

little relationship between these materials, other than their practical uses. Any derived<br />

outside meaning of the piece is flattering. Although it is humorous to think of people<br />

pondering over something with so many elusive clues as to what it may represent, when<br />

the artists definition is close to meaningless. Maybe this makes me shallow. I don’t think<br />

I should be an artist.<br />

<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice<br />

William: I am a fashion designer and recent<br />

Menswear graduate from Central Saint<br />

Martins. My usual practice however, hasn’t<br />

at all informed my approach to the <strong>21st</strong> faith<br />

project.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

<strong>Faith</strong> isn’t a topic I often consciously touch<br />

on in design, although historically it is<br />

an integral influence to many artists<br />

so I believe it indirectly plays a role<br />

in certain contemporary art. It also is<br />

interesting to consider the decline of<br />

traditional faith in western society replaced<br />

with and new self determined idea of ‘faith’<br />

driven by consumer culture and icons.<br />

What role do you think faith will play in<br />

the <strong>21st</strong> century?<br />

It depends what is defined by faith.<br />

In the most traditional sense of faith,<br />

the most prominently publicized<br />

and controversial ‘role’ is its association with<br />

terror. And it’s these negative connotations<br />

that will decrease its popularity and<br />

scapegoat such a once imperative belief<br />

system and its followers.<br />

William: williamfrancisgreen.tumblr.com, @wwffgggg 57


11<br />

Untitled,<br />

by Deji Feyisetan.<br />

When I started to think about what faith meant to me as a millennial, I realised that<br />

I had become quite disenfranchised from any form of religion that I had been socialised,<br />

familiarised or indoctrinated to believe. However, I also acknowledge that it’s highly<br />

ignorant to disregard the beliefs of others, because the same notion of social conditioning<br />

applies to most, if not every other facet of life. What’s most logical to me about<br />

the concept of faith is that it can validate a comforting, but ultimately human fallacy<br />

of certainty - it can reassure people that there is a purpose to life and suffering and that<br />

the people they once loved are in a better place.<br />

Whilst I’m clearly sceptical and somewhat alienated by theological practice as a whole,<br />

I think that there are still several habits and rituals in my life which most likely derive from<br />

religion and the impact it had on my upbringing and how that subsequently shaped my<br />

lens of existence.<br />

This desire to understand existence or at least frame life experiences within a larger<br />

narrative is paradigmatic of religion, but also the means through which we maintain<br />

sanity in a life where we are required to fight our human nature everyday to fulfil our<br />

basic needs. Though steeped in scepticism, ’The Ephemeral Loop’ expands on my original<br />

assumption that the rationale behind religion(s) is universal and applies just as much<br />

to secular communities.<br />

Metaphysical imagery is a recurrent theme throughout my work, and has long been<br />

a topic of interest for me as I find the principles poignant in reference to my perspective<br />

and experiences during my formative years. In the series of giclée prints I aimed to draw<br />

parallels between transcendental symbology and different societal customs<br />

in a cross-cultural study where various digital techniques are used to convey<br />

my perception of each sentiment. As the prints serve as a timeline of my perceptions,<br />

I decided to pair each print and medium with a metaphysical symbol<br />

and the corresponding number that best surmises my emotional state.<br />

Deji: dejifeyisetan.co.uk, deji_f@live.com, @yuthdevine


<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice<br />

Deji: My name’s Deji and I’m 23 year-old<br />

multimedia creator, with a focus on sound<br />

and music. My life’s been centred around<br />

the underground music scene since<br />

I was in school, and I became increasingly<br />

involved as my interest in the culture grew.<br />

More recently, the art that’s peripheral<br />

to music and the different ways they allow<br />

the audience to perceive the media is what<br />

drives me.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

<strong>21st</strong> <strong>Faith</strong> is a project I became aware of<br />

shortly after it was conceived, and I thought<br />

the premise was necessary to explore.<br />

Even though it’s quite an ambiguous term,<br />

I think ‘faith’ is something quite human<br />

regardless of individual values, beliefs<br />

or how stringently rules are followed.<br />

Metaphysical imagery is something that<br />

is recurring in my work and the name<br />

of my collective, ‘Pineal Sounds’ came<br />

as a result of my interest in metaphysics<br />

within different cultures and religions.<br />

What role do you think faith will play in<br />

the <strong>21st</strong> century?<br />

We’re living in a really uncertain time<br />

and our concerns mirror the complexity<br />

of our lives. There’s a lot going on in the<br />

world, from global problems like climate<br />

change to personal issues such as mental<br />

health. Ultimately, I think faith is a concept<br />

that evolves with the people practicing it.<br />

59


12<br />

Fidel Lana Erunt,<br />

by Jasmine Schofield.<br />

‘Since faith was not a large part of my upbringing, the ideas and traditions that surround<br />

different faiths fascinate me but also frighten me, in particular the objects that surround<br />

our faith or that we put belief into.’<br />

Jasmine explores objects around faith and the artefacts used within different religions,<br />

in particular those that might be considered spiritual or sentimental in value<br />

or importance. Jasmine explores the ideas of faith within the compounds of found objects<br />

that relate to her own perspective of home and security as an atheist by created a shrine<br />

consisting of contrasting materials and textures including metal, wool and plants laced<br />

together on top of a rolled carpet to represent how objects can be comprised to create<br />

a status of power through positioning and placement.<br />

The combination of familiar items that are traditional to me were constructed through<br />

my own interpretation of a quote by William H. Hunt expresses that “when language<br />

was not transcendental enough to complete the meaning of a revelation, symbols<br />

were relied upon for heavenly teaching, and familiar images, chosen from the known,<br />

were made to mirror the unknown spiritual truth.”<br />

<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice<br />

Jasmine: Jasmine Schofield is a recent<br />

graduate of Fine Art from Central Saint<br />

Martins, and within hr practice investigates<br />

the ideas of memory through her<br />

installations around the notion of ‘Home’.<br />

Her installations are comprised with familiar<br />

items, commonly domestic objects that<br />

are warped or edited to construct a surreal<br />

situation. These surreal situations are aimed<br />

to create a physical memory and many<br />

of the objects are picked from the<br />

memories of Jasmine’s childhood.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

Since faith was not a large part of my<br />

upbringing, the ideas and traditions<br />

that surround different faiths fascinate<br />

me but also frighten me. I aim to focus<br />

on religious buildings and how the spaces<br />

within these buildings are used. I decided<br />

to take part in <strong>21st</strong> <strong>Faith</strong> to explore<br />

these ideas further, and to create a situation<br />

out of found objects, and giving an atheist<br />

perspective.<br />

Jasmine: jasmineschofield.com, jasmine_schofield@hotmail.com 61


13<br />

good good not bad,<br />

by Louis Schreyer.<br />

<strong>Faith</strong> is of uttermost importance in the 21. Century. Our future has been stolen<br />

and it is up to us to overcome sarcasm and depression by taking control of our future.<br />

Orwell said, “who controls the past controls the future. Who controls the present controls<br />

the past.”<br />

While we are living in the exaggeration of something similar to the utopian nightmare<br />

of the Brave New World as described by Aldous Huxley, our future is painted more<br />

sinisterly with the dooming Extinction through nuclear war or natural disasters.<br />

Because it is too difficult accepting this fact and ones apathy towards our future<br />

as humanity, we all live in our own more or less happy little worlds.<br />

<strong>Faith</strong> in the 21. Century can be described to me like this. Imagine everybody<br />

in the world would stop working for 1 day completely. Although it seems technologically<br />

and logistically possible in terms of communication, it still seems highly unlikely<br />

it would ever happen. I chose this example because I believe we need to restore our faith<br />

in humanity as whole, and that means me and you and everybody else. There is a small<br />

fraction of people in power that are responsible for the ongoing illegal wars, as well as<br />

climate change regulations or in positions to change this global trend. Yet in a world ruled<br />

by the free markets our illusion of choice through representative democracies, does not<br />

hold any power in changing these main issues we are facing. By coming together<br />

with something as radically as stopping the economy completely for one day, would start<br />

a new era, “the human project,” and show humanity we stand together, which is the only<br />

way we will ever change the relations of power. For a single person, not coming in for<br />

work one day might not seem that radical, you might say you are ill or just skip it<br />

and get an excuse. If you are super straight you could even get one holiday day. Either way<br />

your consequences would be minimal. But if everyone did this act of minimal damage<br />

to ones personal life, it would have a huge impact on the worlds equilibrium.<br />

This would only work if everybody firmly believed that everybody else was also going<br />

to stay at home just like them. In the same way that, if I believe the world is going down<br />

and our environment is totally fucked up, and either way the huge companies are creating<br />

way more waste then I do, so it doesn’t even matter, I won’t recycle.<br />

But if I believe in a future where the people have forced governments and companies<br />

to change their regulations and the planet and species’ are regenerating, plus I know<br />

everybody else is recycling too, I almost have to recycle. Even just morally. Therefore we<br />

have to believe in the future again. Nobody I have ever met wants to bomb or kill anyone<br />

else, nobody wanted the planet to be polluted and species to go extinct or even humans<br />

to go instinct either. I don’t know if you as the reader agree but this is for most part of<br />

humanity at least those people who have the luxury to live in peace. Why can’t we imagine<br />

a future in peace, powered by renewable energies, working on human survival<br />

on this planet and the growth of empathy and balance through having faith.<br />

Us, as artists, communicators, but also everybody else has have the chance to rebuild this<br />

future. Have faith, create faith, dream about the future. In the end the future only exists<br />

in the way we speak about it. It never really starts, neither tonight, nor tomorrow, nor in a<br />

year. We can only imagine it by the way we think about it or how it is been portayed to us.<br />

Only if we have faith in the future, we can act positively and be happy today.<br />

Louis: louisschreyer.com, @bitchesandturtles


<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice<br />

Louis: Louis Schreyer is a german born<br />

artist/designer based in London, doing<br />

a MA in Informa- tion Experience Design<br />

at the Royal College of Art. Working in<br />

a range of media, he makes use of analog<br />

photography and videography, while<br />

exploring new ways of working with<br />

interactive sculptures, digital realities<br />

and emotions as well as experiences<br />

in art. His work is socially critical<br />

and often political, as he looks at social<br />

behavior, the interaction of humans and<br />

machines, as well as language. He is<br />

interested in Surveillance, and different<br />

means of control in popular culture.<br />

He has exhibited in several exhibitions<br />

in London, Berlin as well Jerusalem<br />

in which he mainly presented photography,<br />

sculptures and installation works.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

As an artist, faith is essential in one’s<br />

success. In the <strong>21st</strong> Century there is not<br />

much faith left, as our future has been<br />

killed by films, capitalisms simulations<br />

of subculture through popular culture<br />

and the news. Our future was once going<br />

to be one in which free love, music<br />

and happiness ruled over war and money,<br />

but that future was bought. In a way<br />

the future only ever exists in the way<br />

we talk about and therefore define it.<br />

It never really starts, but without somebody<br />

laying it out for us we could not envision it,<br />

which is why Dystopian art or films<br />

are dangerous. In order to restore faith,<br />

we have to invent futures, we have to try to<br />

live those futures ourselves which is where<br />

change happens. Yet as artists we need<br />

to embody this positive attitude towards<br />

notions of future in our work. If not even<br />

change our work in order to save our future<br />

and the world from meaningless art.<br />

I am interested in faith as a subject and was<br />

drawn in by my good friend Rebecca who<br />

envisioned and brought to live the project<br />

as I had faith in her vision. A great deal<br />

of other friends and artists had the same<br />

faith which is why it was possible to bring<br />

such a beautiful show and people together.<br />

What role do you think faith will play in<br />

the <strong>21st</strong> century?<br />

I think in the <strong>21st</strong> Century as of so far <strong>Faith</strong><br />

has died to some degree, as our future<br />

has collapsed. There are an infinite amount<br />

of futures, that only ever exist in the way<br />

we talk about, and therefore define them.<br />

Religion used to serve the purpose control<br />

through fear, but also ensuring faith<br />

in the future to deal with the present.<br />

Language allowed for this description<br />

of heaven or hell as only possible futures<br />

in order to guide the masses. Still today<br />

religion has a huge impact on some people<br />

leading them to make radical decisions<br />

based on faith. Still Governments outdated<br />

Religion as institutions of control, as they<br />

installed faith in democracy and peace.<br />

Shared narratives are means of faith based<br />

in language. The Future has collapsed<br />

as we have stopped being able to grasp<br />

the present. Not knowing our destination<br />

is eroding our path as we stumble<br />

into the future. As markets and networks<br />

have exceeded our understanding and their<br />

repercussions on nature are too difficult<br />

to judge and predict, as to define a shared<br />

narrative to deal with the complexity<br />

of issues in the world and their networks.<br />

When we talk about the future, its mainly<br />

in terms of dystopia which is only<br />

supported by the media and film/ TV<br />

industry. In order to restore faith in<br />

the future, we need to invent new futures,<br />

new paths. The way we think about the<br />

future defines the way we act in the present<br />

as well as the present defining the future.<br />

<strong>Faith</strong> carries energy and can be inspiring.<br />

Therefore faith plays a huge role in the 21.<br />

Century. We need people to believe in<br />

a better future in order to create it by living<br />

and inviting it in the present!<br />

65


14<br />

Untitled,<br />

by Subject.<br />

Algorithmic processing of video footage is used comprehensively by both the state<br />

and private firms to detect a range of human behaviour: from simple motion, to the age,<br />

race and gender of those being filmed. How aware are the public to these tools<br />

and how might designed experiences be used to reveal these mechanisms?<br />

The work aims to question our notions of faith in contemporary life by drawing parallels<br />

between religion and the obscured mechanisms which are developed to support<br />

advanced technologies; powering social media, data collection and state governance.<br />

<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice<br />

Subject: Subject is a critical design studio<br />

which examines hairline fractures<br />

at the intersection of data, architecture,<br />

society and politics, using design<br />

as an experimental vehicle for research and<br />

journalism.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

As a studio we explore contemporary<br />

technology in relation to the obscured and<br />

intangible aspects of its construction and<br />

use. More and more people are placing their<br />

trust in private companies by knowingly or<br />

unknowingly providing their personal data<br />

in exchange for services. This phenomena<br />

strikes us as one of the most widespread<br />

expressions of faith in society today.<br />

What role do you think faith will play in<br />

the <strong>21st</strong> century?<br />

With the decline in practice of traditional<br />

religion and the greater adoption of social<br />

technology, faith is increasingly being<br />

placed in capital and particularly products<br />

that facilitate ease of social interaction.<br />

Subject: subject.design, studio@subject.design 67


15<br />

Connatural,<br />

by Leda Yang.<br />

For <strong>21st</strong> <strong>Faith</strong> I’ve created an arrangement of ceramic objects based on natural rhythms.<br />

During the making of this piece I was looking into exponential growth and the creation<br />

of hyperbolic curves, often found in nature, during the show the ceramic pieces<br />

were often compared to petals and leaves. I initially looked at types of coral and tree<br />

branches which have a similar way of developing. Throughout the event I saw people’s<br />

intuition for natural forms.<br />

<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice<br />

Leda: My practice is centred around<br />

geometry in its abstract form, often<br />

I take inspiration from patterns in nature<br />

and human arrangements throughout<br />

civilisations and cultures around the world.<br />

I am interested in communicating a<br />

language which is universal and overcomes<br />

socially constructed ideas and barriers.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

I was very keen to take part in <strong>21st</strong> <strong>Faith</strong><br />

as I find the core ideas shared with Rebecca<br />

very close to my own. To build communities<br />

of merging cultures and the fading lines<br />

in a society, which are important to me<br />

and others which aren’t rooted in their own<br />

ethnicity or nationality. Coming from<br />

an international background I always seek<br />

to connect with people on a human<br />

and natural basis rather than sociocultural.<br />

The idea of faith as a human feeling<br />

is something very close to the spirit<br />

of my practice.<br />

What role do you think faith will play in<br />

the <strong>21st</strong> century?<br />

I believe that faith in the <strong>21st</strong> century will<br />

be a new chapter for us as people. I believe<br />

our societies will find a new way<br />

of practicing an honest and personally<br />

developed way of perceiving faith.<br />

Leda: ledayang.com 69


16<br />

An Ungodly<br />

Meteorologist,<br />

by Larry Frederick Alan James Bizby-Weir.<br />

Scene 1 - The News Broadcasting Studio<br />

The brightly lit broadcasting studio of HTMS NEWS, cameras set on Kevin Swanson<br />

as he wraps up report on effects of local lesbian couple’s recent marriage on the pest<br />

infestation on local crops, Tony Perkins stands off camera in position for his weekly<br />

weather report, a low hum of the newsroom fills the space with hymn like effect.<br />

Kevin speaks with an overzealous use of his right hand, Tony stands fussing with<br />

the cowlick on the far left side of his fringe using the reflection of an inactive tv monitor.<br />

Kevin Swanson:<br />

… so be sure to thank Mrs. Sarah Harmond and Mrs. Rachel<br />

Vice this autumn for the shortage of pumpkins at your local<br />

grocer. (Kevin smiles delightfully as he begins the segue onto<br />

the weather) Tony! A Pumpkin shortage! You’ve got young ones<br />

at home don’t you?<br />

Larry: aj.weir@hotmail.com, @larryfajw


Tony Perkins:<br />

Kevin Swanson:<br />

(nodding vigorously whilst deeply creasing his eyebrows)<br />

I sure do Kevin, two boys and another on the way!<br />

I can barely imagine the looks on those little faces when they<br />

sit down for their Thanksgiving meal to be disappointed with<br />

no pumpkin pie for dessert! what truly dark day’s lie ahead,<br />

and with dark days, tell us whats happening with the weather<br />

this week Tony (As the camera’s move off of Kevin, an assistant<br />

rushes over to dab the sweat lining his newly purchased hairline)<br />

Tony Perkins: (Tony angels his body and begins to gesture to the green screen)<br />

Well Kevin, this afternoon we’ve managed 18 degrees across<br />

the state, but that is the last of the hot weather as recently Markus<br />

Wight and Leon Hallow opened a case for adoption, so we will<br />

see a change over the next few days turning much cooler,<br />

and a lot more cloud around. Theres a weather front thats drifting<br />

this way south that is bringing heavy rain to the north east<br />

of the state for which we see reason to believe coincides with Mrs.<br />

Victoria Range signing the lease on a 1 bed studio apartment<br />

to share with her girlfriend last weekend. In the southern corners<br />

of the state we will see breaks in the cloud, however the light<br />

showers mid state will help keep the temperature up. Later in<br />

the week we will see the showers continuing to blow a fairly<br />

strong breeze with time reaching gail force, looking like a great<br />

time to avoid the beach, as well as Brenda Hall , whom we can thank<br />

for recently publishing her queer nasty girl zine. In the north the<br />

temperatures will just about to be dropping to single figures, touch<br />

on the chilly side here. As we look to the end of the week we see a real<br />

taste of autumn as things continue to turn cooler, with plenty more<br />

showers around, assuming Gary Bronte wont stop cruising his local<br />

cemetery, the weather will continue in this pattern for some time.<br />

(Tony adjusts his tie and throws a seemingly unenthusiastic double<br />

finger guns towards his camera)<br />

Back to you Kevin.<br />

Kevin Swanson:<br />

After the break we have onsite reporter Richard Bankwell finding<br />

out how the upsurge of local coffee shop Adam & Steve have<br />

singlehandedly created the downfall of the paper napkin industry,<br />

but first are our children being targeted for free thinking in public<br />

school health classrooms …<br />

<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice<br />

Larry: With an important focus on hand<br />

work, my practice takes traditional fine<br />

crafts, such as goldwork embroidery,<br />

tapestry weaving, sculpture and stained<br />

glass, and explores contemporary themes<br />

of dark romanticism, through a queer lens.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

Growing up in a Protestant household,<br />

faith has always been an important theme<br />

with my parents. Through their practice<br />

of faith, it carried me to many prodigious<br />

and monumental religious sites, in which<br />

i developed a reverence for the traditional<br />

hand crafts found around the church.<br />

I was drawn in to take part in <strong>21st</strong> <strong>Faith</strong>,<br />

as it was an opportunity to further explore<br />

my opinions around faith, in relation<br />

to Christianity.<br />

71


17<br />

Narcissus or<br />

the Outfit of a Century,<br />

by Edward Green.<br />

‘Those hushed, restless murmurs of anger and despair at unfortunate events in all<br />

of our lives must be directed somewhere. Who do we beg to for luck? Who do we curse<br />

in the sky? For theists this is a God. But what, or who is it for a new generation<br />

of narcissistic non-believers?’<br />

Narcissus or The Outfit of a Century is a contemporary response, or reinterpretation,<br />

of the mythical poem Echo and Narcissus, featured in Ovid’s Metamorphoses. The ancient<br />

story depicts a relationship of unequals. The mountain nymph, Echo, has her lust<br />

and desire met with disdain by the proud hunter Narcissus. The latter’s devout faith<br />

in his own beauty eventually spirals into self-obsession and culminates in suicide.<br />

Morally, the tale resonates with a <strong>21st</strong> Century crisis of identity and faith. Artificial persona<br />

platforms such as Tinder, Bumble, Facebook and Twitter can be perceived as the endless,<br />

echoing mating calls, emanating out from our phones and into the glass wilderness.<br />

Narcissus, the objectifying receiver to these desperate echos, has become the common<br />

person, with vanity, anxiety and mental health all being normalised in today’s society.<br />

The search for faith is becoming more insular and more introspective.<br />

Similar to the symbolist art movement and the Pre-Raphaelite painting techniques,<br />

in which items of reference and significance are hidden amongst the paint and words,<br />

I have included talismans of contemporary vanity into my work. Upon the model’s head;<br />

a garland of feathers, weaved betwixt a life-giving-phone-charger. Adorning her body<br />

is the collaged, ambiguous fashion of youth; nostalgic and thoughtless. Her skin exposed,<br />

her eyes fixed and the gaze returned; has her faith been restored?<br />

Edward: edwardjuliangreen.tumblr.com, @nedgreen


<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice<br />

Edward: Somewhere between the gravehanging<br />

Merseyside skies and a vulgar<br />

bedsit for three in Deptford sits a silent<br />

somebody, squeezed in between the frank<br />

and stout little pages of a dust collecting<br />

iconic novel and a computer screen.<br />

Displayed on the computer screen<br />

is a collection of files marked:<br />

‘Edward Green Submission #1’<br />

‘Edward Green Submission #2’<br />

…and so on. The files are leftovers from an<br />

endless career (spanning only three years)<br />

of images shot, developed, scanned and<br />

hopefully, idealistically, sent to publications<br />

across the country in vain. Inside the novel<br />

(possibly a love story, possibly Betjeman’s<br />

collected letters, possibly a cartoon)<br />

a footnote reads: ‘Become a plumber’.<br />

Edward Green was born in Liverpool<br />

in 1996 and currently studies Media &<br />

Communications at Goldsmiths, University<br />

of London. His socially conscious work,<br />

which celebrates banal, beautiful<br />

and surreal aspects of public life,<br />

has been exhibited in galleries across<br />

the capital.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

<strong>Faith</strong>, in my opinion, is a word tragically<br />

out of fashion. The quickening demise<br />

of religious conviction amongst westerners<br />

is evident not only in the pews<br />

of the local Methodist church but also<br />

in the playground discourses of a new<br />

generation; faith is not being taken<br />

seriously. Rebecca’s concept is therefore<br />

tremendously important in engaging<br />

people and inciting opinions on a matter<br />

which, quite frankly, used to be the most<br />

important aspect of almost EVERYBODY’S<br />

lives.<br />

Those hushed, restless murmurs<br />

of anger and despair at unfortunate<br />

events in all of our lives must be directed<br />

somewhere. Who do we beg to for luck?<br />

Who do we curse in the sky? For theists<br />

this is a God. But what, or who is it for<br />

a new generation of narcissistic nonbelievers?<br />

Is it Facebook algorithms?<br />

Is it the Chairman of Burnley Football Club?<br />

Is it ourselves? Is it the person with<br />

the largest Instagram following?<br />

I hope that my photography work is able<br />

to address some of these questions in<br />

an original and aesthetic manner.<br />

What role do you think faith will play in<br />

the <strong>21st</strong> century?<br />

None whatsoever, unfortunately.<br />

73


18<br />

3:00 AM REVELATION,<br />

by Nina Vukadin.<br />

What is faith? This question was stuck in my head for many months, when I started<br />

working on this project. I had a lot of ideas how I would interpret faith and a big part<br />

of those ideas was revolved around the photographs I took while walking around the city.<br />

However in the midst of this overthinking I ultimately had a ‘3 AM revelation’ - an urge<br />

to simply write down my thoughts related to faith and what it meant to me. Which is how<br />

my poem came about - looking at faith as something which is personal and subjective<br />

and what that means in my specific case.<br />

I wanted to communicate this poem across as easily as possible, which is why I decided<br />

to print it on flags, a medium which has proven to be a great tool of easily communicating<br />

a message or an ideology to the public. Whether this message is commercial, political<br />

or in my case - personal.<br />

The flags split the poem in two parts - the ‘universal’ and the ‘personal’. ‘Universal’<br />

being what I believe faith is on a general basis and the ‘personal’ my own response<br />

to this general claim: finding faith through walking around in cities.<br />

<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice<br />

Nina: I’m a graphic designer and one<br />

of the creative directors of the magazine<br />

EYESORE. Being a graphic designer has<br />

turned me into a bit of a chameleon when<br />

it comes to work, as I have to work in<br />

a variety of different contexts and different<br />

people. My design practice is always<br />

led by creating concepts which I try to<br />

communicate as simply across as possible.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

I have been thinking about faith quite a bit<br />

since this project was started. I felt I wanted<br />

to contribute something because I wanted<br />

to ask myself that question of what faith<br />

is to me and try to define it. <strong>Faith</strong> for me<br />

is isn’t necessarily something I consciously<br />

consider important, however it definitely<br />

plays a big role in my practice in ways<br />

which I don’t think I’m yet aware of such<br />

as through intuition and a general drive<br />

to make.<br />

What role do you think faith will play in<br />

the <strong>21st</strong> century?<br />

To be quite honest, I am not really sure.<br />

I hope people will start to explore more<br />

what faith means to them on a personal<br />

level, rather than blindly following<br />

a doctrine that might not benefit their<br />

spiritual being much. That’s my hope,<br />

but from the look of things it might take<br />

a couple more centuries for that sort<br />

of faith to develop.<br />

Nina: ninavukadin.com, @neenzv 75


19<br />

Your Turn,<br />

by Nicolee Tsin<br />

and Leanne Vincent.<br />

‘Your Turn’ represents a constant feeling that replays in our heads - it is a journey<br />

of moving forward yet constantly being pulled back and trying to breakthrough<br />

that momentum. As she progresses, she translates the present moment into<br />

unrelenting motion and an expression of empowerment.<br />

<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice<br />

Nicolee and Leanne: Leanne and I have<br />

always been interested in using film<br />

as a medium to speculate and record<br />

movement. Our approach is experimental<br />

and instinctive. Although we came from<br />

very different backgrounds, Leanne<br />

from London and myself from Hong Kong,<br />

we were able to find the same language<br />

through dance. It speaks emotions<br />

and feelings that we shared and simply<br />

can’t put in words.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

<strong>Faith</strong> is important to our practice because<br />

it encourages oneself to push forward<br />

no matter what the outcome is. “Your Turn”<br />

represents this idea as the protagonist tries<br />

to defeat her frustrations through dance<br />

in order to experience freedom in the mind<br />

and body.<br />

What role do you think faith will play in<br />

the <strong>21st</strong> century?<br />

By giving will power and strength to people<br />

who will see light in whatever they do<br />

and stand for.<br />

Nicolee: nicoleetsin.com, @nicoleetsin / Leanne: @leanne24v 77


20<br />

Flat Pack Plastic Pants,<br />

by Anna Baumgart.<br />

Flat Pack Plastic Pants relates to the idea of <strong>Faith</strong> as a simultaneously individual<br />

and collective practice.<br />

The opening night featured the live improvised performance of The Golden<br />

Trouser Tours, bringing individuals together through a collective experience of dress.<br />

Multiple pairs of nearly identical gold fake leather trousers lay in folded compositions<br />

in a white square. At intervals throughout the evening, performers came and began<br />

to unfold the trousers, interacting and playing with them.<br />

Putting them on, they invited visitors to join them and walk around the exhibition<br />

in a group. In turns, one person would lead and the rest would copy, performing certain<br />

movements with the trousers, e.g. taking them on and off at different points around<br />

the room and responding to other artworks.<br />

The trousers are special for their quality of being notably flat, yet in contact with<br />

the body transition into sculptural shells. Here exists a reciprocal dialogue between body<br />

and garment, each influencing the other’s movements. After undressing, the trousers<br />

are left with a bodily demeanor, as empty shells emphasising the ephemeral presence<br />

and absence of individual bodies, marking their traces left behind.<br />

Like faith, the trousers represent how one common thing can bring together individuals.<br />

Although similar, each golden trouser is made as a slightly different size or shape,<br />

representing how people can still remain individuals in a collective.<br />

In between performances, the ways in which the trousers were left arranged<br />

as shells in the space was always different according to how each individual undressed<br />

them there. This formed a continuously shifting landscape of golden trousers, therefore<br />

a constantly changing artwork.<br />

Anna: anna_baumgart@outlook.com, @anna_baumgart


<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice.<br />

Anna: I graduated from Fashion design<br />

(Womenswear) at Central Saint Martins,<br />

but I would say my work has always<br />

stemmed from a more fine art based<br />

approach. I work between video,<br />

performance, installation and photography,<br />

but always keeping fashion and garments<br />

as my central ‘medium’ and subject.<br />

I am interested in the social role that<br />

clothing plays in day to day life; how<br />

garments act as the interfaces between the<br />

private body and public realms, mediating<br />

our everyday encounters. Fashion design<br />

can therefore effectively be used to shape<br />

these and explore social concepts.<br />

As opposed to the static flat images<br />

associated with fashion, I am more<br />

interested in the bodily experience<br />

of wearing clothes. Focussing on the active<br />

dialogue between body and garment<br />

in movement, their reciprocal relationship<br />

and impact of touch on one another, I<br />

discover performative moments<br />

and situations.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

I feel that this is such a refreshing way<br />

to think about a concept that is not so<br />

outwardly discussed in today’s society,<br />

but is such an imminent part of it.<br />

Raising attention to it through an artistic<br />

discussion is such an interesting way<br />

to vocalise new and varying viewpoints<br />

and understandings of what we consider<br />

this part of human nature to represent.<br />

It is also important that we are<br />

a group of young creatives talking about<br />

this subject, as our generation can bring<br />

a new approach to such topics that are<br />

in need of a fresh outlook.<br />

I find that faith plays an important role<br />

in mine and any artist’s work. Carrying<br />

a belief in one subject that inspires you<br />

so much that you can rigorously devote<br />

your time to researching and exploring<br />

it endlessly, resonates with the way I work<br />

as a form of faith. Sometimes one simple<br />

detail or movement, can inspire a whole<br />

body of work for me.<br />

Furthermore, faith plays an intrinsic<br />

part to my practice as my work is largely<br />

about people, and their social relations<br />

and experiences. <strong>Faith</strong> is a common<br />

denominator between all social groups,<br />

and something relevant to everybody’s<br />

experience of art.<br />

What role do you think faith will play in<br />

the <strong>21st</strong> century?<br />

I think as more uncertainty<br />

and unsettlement is rising in our current<br />

times - socially, politically, environmentally<br />

- to have faith, a strong belief in something,<br />

whatever it is, will become more visibly<br />

important as a way to keep us grounded.<br />

It gives people something to hold on to,<br />

provides hope in the most desperate<br />

of situations, and brings people together<br />

when other things divide them.<br />

79


21<br />

One Zero Zero,<br />

by Alexandra Gribaudi<br />

and Theodore Plytas.<br />

ONE: Photography as surface. A plane that communicates in the same way that walls<br />

reverberate light. That a screen flashes with notifications. Or floorboards lie beneath<br />

steps. Sculpture as space. A protrusion invading dimension like a chair offering its form<br />

to the buttocks. A tree spreading upwards. Or a globe spinning round. Surface. Flat. Space.<br />

Sticks out. Together forming environment. The tree you hug is space. Space between your<br />

outstretched arms. Yet its bark is surface. Surface you press your face against.<br />

Even in the digital they alternate. Flat screen until new link is clicked and the entire<br />

flatness mutates into a space where surfaces juxtapose into digital 3dimentionality.<br />

Photography vertical or horizontal. Presence emanating from surface. Sculpture sitting<br />

or floating. Presence invading space. Photography and sculpture: together what happens?<br />

ZERO: Photography as time. Time as an almost invisible force governing existence.<br />

Time the secret inhabitant of all photographs. Captured right there in the negative.<br />

Printed right there on the paper. Can’t see it? Time is to a photograph the presence<br />

that magnifies with each gaze like the multiplying wrinkles on your face. Sculpture<br />

as faith. <strong>Faith</strong> the almost invisible force that governs existence. <strong>Faith</strong> the secret inhabitant<br />

of all sculptures. Captured right there in the welds. Captured right there in the weight.<br />

Can’t see it? <strong>Faith</strong> is to a sculpture the ultimate productive force like the urge that tonight<br />

might push you to write. To make a 100 photograms and 100 sculptures you need time.<br />

To make a 100 photograms and 100 sculptures you need faith. Time under pressure<br />

appears in the form of making, as faith burns idea to reality. Weld after weld after weld.<br />

Minutes become steel to put their hours down on emulsified paper. Flash light.<br />

Time’s outline captured in black and white.<br />

ZERO: Photography and sculpture together you get space invading surface. You get<br />

surface revealing inner space. You get faith breaking time right open. You get time<br />

underscoring faith. 100 steel sculptures hanging above a 100 photograms of their<br />

shadows. 100 sculptures multiplying in size. An organism multiplying. Space from 1cm<br />

to 1m. 35 meters long. Photograms translate form beyond human logic. Each and every<br />

surface producing a unique pattern. Yet retaining trace of its origin. Surface as<br />

the witness of space. Photography as the witness of sculpture. Witness of an attempted<br />

understanding. 100 attempts to seize the permanently perceived dialogue of surface<br />

and space. Time and faith. Photography and sculpture. Ask a question ONE ZERO ZERO<br />

times. You might not find the answer but you will perceive its intricacy.<br />

Alexandra and Theodore: gribaudiplytas.com, gribaudiplytas@gmail.com, @gribaudiplytas


<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice<br />

Alexandra and Theodore: Our work is<br />

a constellation of photography, sculpture,<br />

installation, drawing, painting. We wish<br />

to propose a reflection into the tumults<br />

of life, a door into a world where energy<br />

can be found in the oddest places, whether<br />

it be in an abandoned building, a rusted<br />

piece of steel or under layers of felt-tip.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

We were drawn to <strong>21st</strong> <strong>Faith</strong> by the<br />

openness of its definition of faith.<br />

We are excited to be part of a conversation<br />

about faith today, in which there are<br />

no pre-defined ideas or categories<br />

to confine or comply to.<br />

<strong>Faith</strong> is part of all of our lives, yet its<br />

meaning and substance within everyday life<br />

is different for each individual. Even for the<br />

same person faith can be found from one<br />

day to the next in different places.<br />

<strong>Faith</strong> in Coffee. <strong>Faith</strong> in God. <strong>Faith</strong> in<br />

Dancing. <strong>Faith</strong> in Time. <strong>Faith</strong> in Walking.<br />

<strong>Faith</strong> in Art. <strong>Faith</strong> in Sweating. This is what<br />

we see as so fundamental about <strong>Faith</strong>.<br />

It is a permanently present force yet<br />

constantly shifting in its meaning.<br />

<strong>Faith</strong> is crucial to our practice because<br />

without it we could not keep going.<br />

We have faith in Art. We have faith in<br />

Making. Our <strong>Faith</strong> might not be your faith;<br />

having and transmitting <strong>Faith</strong> is<br />

what counts.<br />

What role do you think faith will play in<br />

the <strong>21st</strong> century?<br />

We believe faith will continue to play<br />

the role it always has, that it will push<br />

people to be who they are and to fight<br />

for what they believe. Our hope is that <strong>21st</strong><br />

century faith might be open. A faith that<br />

is fluid and capable of changing its mind.<br />

A faith willing to discuss and exchange.<br />

A faith able to argue whilst always<br />

remembering to respect.<br />

83


22<br />

Untitled,<br />

by Kelly Randall.<br />

Preheat oven to 220 C / Gas 7. Remove the neck and giblets from the turkey and place<br />

in a separate pot along with 200ml water, celery stalk, carrot and herbs. Bring to a boil<br />

and simmer to make turkey stock.<br />

Place the turkey in a roasting tin and starting at the neck of the bird, slide your hand<br />

between the skin and the breast meat to loosen it. Take some of the softened butter<br />

and rub it onto the breast meat (under the skin). Rub some more of the butter over the top<br />

of the skin. Season well with coarse sea salt. Place the 2 lemon halves in the cavity<br />

of the turkey - these will help to keep it moist.<br />

Roast for 30 minutes at 220 C / Gas 7 until golden brown all over, then remove and brush<br />

with softened butter. At this stage, reduce the oven temperature to 180 C / Gas 4,<br />

stuff the cavity with the stuffing of your choice, then cover the breast with tin foil<br />

to prevent further browning.<br />

Continue to baste every 30 to 40 minutes with softened butter or spoon over the turkey<br />

juices from the roasting tin, until the turkey is cooked and the juice from the thickest part<br />

of the leg run clear (about 3 1/2 more hours). Transfer to a serving platter but cover<br />

with foil to keep warm.<br />

<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice<br />

Kelly: I’m a recent Fine Art graduate<br />

from Central Saint Martins. My practice<br />

is predominantly sculptural, with subject<br />

matter and materiality taking influence<br />

from a range of food practices. By creating<br />

a dialogue between our understanding<br />

of food and the formal aesthetics<br />

of sculpture, I aim to form a sense<br />

of ambiguity that interrogates the symbolic<br />

status of food within art.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

Previously I haven’t directly approached<br />

faith within my practice, although I’m aware<br />

it’s an underlying theme of the metaphors<br />

and rituals surrounding food. Taking part in<br />

<strong>21st</strong> <strong>Faith</strong> offers the opportunity for me<br />

to interrogate the role that food plays<br />

within faith further, alongside working<br />

collectively with the other participants<br />

to give an insight into what faith means<br />

to young creatives.<br />

Kelly: kelly-randall.com, @smellysandall 85


23<br />

<strong>21st</strong> <strong>Faith</strong>,<br />

by The Recollector.<br />

Acknowledging mixing as an independent art form is still on an ongoing path.<br />

Most people do not consider the added value audio mixing can bring to a piece of music.<br />

As arrangement and interpretation can be considered as a creative process in music<br />

production, mixing should be equally recognised. An ear does not process information<br />

in a linear way as our brain does. Ears process music with it’s full spectrum of frequency<br />

at once and has temporary memory in its analytic process. Lots of DJ’s have mentioned<br />

the correlation between volume gradients and crowds reaction: you can play a track<br />

at a different growth level through time and the people that are impacted by it will not<br />

react the same way each time. This has motivated impressive engineering research<br />

towards rotatory mixers and equalizers throughout the years…<br />

Larry Levan was the first man to popularise audio mixing as a specific art form<br />

with his three turntables technique. His legacy is challenged more than ever with the<br />

democratisation of DJing. On one hand, the breakdown of music industry at the end<br />

of the XXth century has forced promoters to book artists with a heavy fan base instead<br />

of DJs to put on a successful show. On the other hand, technical progress has been<br />

helping more young DJs in becoming a simple “human juke-box”, the art of DJing<br />

has been loosing its resonance over time.<br />

This has brought me in pursuing the lost art of mixing through production and DJ<br />

mixes. Using speed shift, un-beatmatched samples, dubs, edits and three to four channels<br />

mixing skills, I have conceptualised my vision of faith in the <strong>21st</strong> century in this 40 minute<br />

piece of music.<br />

<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice.<br />

The Recollector: I’m first and foremost<br />

a DJ. For me DJing is much more than just<br />

playing other’s music. It’s about mixing,<br />

fusing melodies and atmosphere that are<br />

already very complex into one unique music<br />

momentum. DJing is about telling a story,<br />

making people discovering new music<br />

genres without even feeling that particular<br />

change. It’s about proving that music<br />

has no boundaries of any sorts.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

Well the subject first, because <strong>Faith</strong><br />

is actually facing a big ideological revolution<br />

at the moment. I’d say that before, <strong>Faith</strong><br />

and dogma were bounded and that bound<br />

would not face any doubt. But recently,<br />

it has been taken away from dogma.<br />

Now some people are trying to reattach<br />

it by revisiting the notions of dogma<br />

or simplify the subject by making faith<br />

stand by its own. For me, faith is important<br />

because it gives you a direction and allows<br />

many people to move forward and achieve<br />

things.<br />

What role do you think faith will play in<br />

the <strong>21st</strong> century?<br />

I honestly have no idea what role it will<br />

play but I’m confident that it will have a big<br />

influence in our future because faith is<br />

the thing that makes people find a way<br />

and our generation have definitely lost<br />

its way.<br />

The Recollector: soundcloud.com/therecollector 87


24<br />

Human Building Human,<br />

by Leshan Li.<br />

“In the world which everyone’s voice can be heard and everyone’s voice being weakened,<br />

<strong>Faith</strong> is going to help the individual person place themselves peacefully in their high speed<br />

random unstable lives.”<br />

Once human being steps up from ancient nomadic life, the cultures bloom. Buildings,<br />

in many forms, provide the stability and fertility for human imagination. We human<br />

treasure our thoughts in building. And we let the building educate our offspring.<br />

LeShan explores how the religious space has been spreading into each small part<br />

of private space. As building educate and raise human up, Leshan investigates how<br />

this new pattern of human building relationship creepily insert itself into almost every<br />

private activities of human activities.<br />

How does the building trigger the deepest desires of human? How does the building<br />

build up the moral of human? How does building destruct and restructure the identity<br />

of individual and human species?<br />

Leshan: info@lileshan.com, @loilioli


<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice.<br />

Leshan: I am a protestant. I am<br />

a communist. I am a motion designer.<br />

I am Chinese. I am alcoholic. I love J.S.Bach.<br />

I love techno. I am a library of everything<br />

I agreed and disagreed.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

What role do you think faith will play in<br />

the <strong>21st</strong> century?<br />

In the world which everyone’s voice can<br />

be heard and everyone’s voice being<br />

weakened, <strong>Faith</strong> is the going to help<br />

individual person place themselves<br />

peacefully in their high speed random<br />

unstable lives.<br />

<strong>21st</strong> <strong>Faith</strong> shows a possibility of developing<br />

and building up strong human characters<br />

in this mass media and internet era.<br />

<strong>Faith</strong> gives me a comfortable and quite<br />

place to create.<br />

89


25<br />

The Sustainable<br />

Development Goals,<br />

by Iara Monaco.<br />

The theme of the exhibition was to interpret the role of faith in the <strong>21st</strong> century.<br />

My response to the brief was inspired by the role the church building had in medieval<br />

Europe where it served as the centre of community activity. The church united the<br />

people of the communities, helped communities grow and develop and made people live<br />

harmoniously together through a shared set of values. I explored whether the Sustainable<br />

Development Goals could represent a new opportunity for all of us to collaborate as one<br />

species and unite behind a relatively simple- yet audacious- set of 17 goals in order to<br />

co-create a thriving sustainable future for all of humanity and all of life.<br />

<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice.<br />

Iara: I have a background in graphic design<br />

but with a current interest in international<br />

development and humanitarian aid.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

What role do you think faith will play in the<br />

<strong>21st</strong> century?<br />

We live in an interesting time where<br />

religious fanaticism amongst young people<br />

is diminishing yet at the same time people<br />

are beginning to realise that we long for<br />

something outside ourselves, something<br />

transcendent, something “other” that can’t<br />

be replaced by money, power, or fame.<br />

I was interested in this project as faith is<br />

a topic we don’t get to ponder on often in<br />

a life full of distractions. My approach<br />

to faith focuses on community and a shared<br />

set of values that could potentially unite us<br />

in purpose.<br />

Iara: iaramonaco@gmail.com 91


26<br />

Into-Form,<br />

by Madeleine Duflot & Koa Pham.<br />

‘Into-form’ investigates our relationship with furniture and how to enhance it in order<br />

to build a better lifespan for the pieces and thus shape a better, more responsible future.<br />

Into-form is a sculptural design project around the concept of gestalt: the idea of a form<br />

created by individual parts arranged together and to be seen as a whole rather than as<br />

a sum of its components. Five shapes are at the disposal of the user who has the freedom<br />

to join them together depending on their needs and feelings. Once arranged, we are<br />

looking at an ephemeral and functional sculpture, with every new assembly becoming<br />

a new gestalt. The body/ies interacting with Into-form are turning into additional parts<br />

and fully merge into the whole picture, becoming each time part of a new gestalt.<br />

Purely sculptural, purely functional or playing on both aspects at the same time,<br />

Into-form aims to create an emotional bond between the user and the furniture using art<br />

as a tool. The many possibilities and ephemeral aspect of each creation along with<br />

the interactive and participatory nature of the work should prevent apathy towards<br />

the pieces of furniture and raise creativity and emotions instead, enabling a connection<br />

to blossom between subject and object over time and thus a better lifespan for the latter.<br />

Into-form is not a chair, not a sofa, not a daybed, not an armchair… It is none but all at the<br />

same time! Into-form is very modular with endless possible configurations and aims<br />

to enhance and embrace the user’s freedom at its best.<br />

Into-form has faith in an emotional bond to exist and to be empowered thanks<br />

to its modularity, its co-designing aspect and its artistic dimension.<br />

Madeleine and Koa started working on the project in May 2017, developed the first<br />

prototype and came up with the name ‘Ilco’ - ‘il’ meaning ‘he’ in French and ‘co’ meaning<br />

‘she’ in Vietnamese. In August 2017 Ania joined the team and together they are now<br />

working on developing the project further.<br />

Madeleine and Koa: hello.ilco.design@gmail.com, @ilco_design


<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice.<br />

Madeleine: We are aiming to merge art<br />

and design together to create sculptural<br />

design pieces, in order to enable<br />

a greater connection to be built between<br />

the furniture and the user. We are using art<br />

as a tool and inviting it to fully take part in<br />

our everyday life.<br />

Koa: I’m Koa Pham, 24 years old. I graduated<br />

BA product design at Central Saint Martins<br />

in 2016.<br />

As a designer with a wide palette, I<br />

have experienced working on different<br />

types of projects, from phone applications,<br />

props and jewellery to art installations and<br />

furniture design. My practice mainly focuses<br />

on solving issues, therefore an object will be<br />

designed to create a new user experience<br />

which will be a solution to a problem.<br />

In addition, I also want to combine art<br />

and design together, to create an emotional<br />

dialogue, which features products that have<br />

distinguish aesthetic and specific functions.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

M: Our practice is thus somehow<br />

relying on faith; we are having faith in<br />

a better and stronger relationship between<br />

the subject and the object, which would<br />

increase the lifespan of the latter. We<br />

believe it is an important issue today in<br />

order to reduce waste<br />

and overconsumption.<br />

K: While we were working on Into-Form,<br />

Madeleine realised the furniture piece was<br />

actually relevant to the <strong>21st</strong> <strong>Faith</strong> project.<br />

<strong>Faith</strong> is very important to me<br />

and my practice. As Rei Kawakubo once<br />

said “without that impetus of creation,<br />

progress is not possible”. <strong>Faith</strong> is<br />

a motivation that pushes me forward, to<br />

design and create my objects. Personally,<br />

I believe that <strong>Faith</strong> starts with intuition,<br />

then it is getting stronger by time when<br />

our intuition embraces with insights and<br />

knowledge.<br />

93


27<br />

Will you act on it?,<br />

by Rebecca Lardeur.<br />

Why don’t we act on climate change and why don’t we take it seriously? This is a wicked<br />

question I can’t get my mind around. The answer is so plural that it is a bit like quantum<br />

science, everytime you look at it, it has changed and the need to adapt, expand<br />

and transform is all that is left.<br />

To start answering the question I chose my mum as my case study. She was raised<br />

in a city, now lives comfortably, enjoys organic food and a periodic walk in the forest.<br />

She does not want the planet to decay, but does not act neither to change the status quo.<br />

She is unaware of the unintended consequences of the materials or resources used in her<br />

everyday routine, which I learned through design studies. She does not think her personal<br />

impact can be of any value. Recycling seems frivolous to her, as a lie told by society to<br />

keep calm. But, was it true? Can small actions really make no difference? Taking recycling<br />

as an example, does the power of the group has really no effect?<br />

To me, waste is only an unrealised potential. For this project I wanted to express my<br />

perception of waste and visualise what collective action can do. The piece asked the<br />

passer-by to glue on it the waste they had in their pockets, and the last day of the show<br />

everyone was invited to paint over the piece to give a new life to the accumulated waste.<br />

<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice.<br />

Rebecca: I am a designer interested<br />

in the subjects of social exchanges,<br />

physical action and play. My ongoing work<br />

researches beliefs systems and how<br />

it influences our relationship and actions<br />

towards nature.<br />

I am currently studying<br />

a postgraduate programme in Information<br />

Experience Design.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

I started <strong>21st</strong> <strong>Faith</strong> out of a desire to<br />

question this notion of ‘<strong>Faith</strong>’ while being<br />

fully aware of the need of the project<br />

to grow organically and with diverse point<br />

of views, united.<br />

<strong>Faith</strong>, and beliefs, are the basis<br />

of knowledge and what humans hold to be<br />

‘true’ or ‘trustworthy’. It guides so many of<br />

us, can’t we now be objective on subjective<br />

matters? This is what we’re trying to<br />

do with <strong>21st</strong> <strong>Faith</strong>. Growing together.<br />

What role do you think faith will play in<br />

the <strong>21st</strong> century?<br />

I believe it will be as strong as ever. There<br />

is no reason for the human race to suddenly<br />

lose this aspect of feeling in the everyday.<br />

The question to me, is, can we speak about<br />

it or is it taboo? Can we share and can<br />

we grow? To investigate <strong>Faith</strong> in the <strong>21st</strong><br />

century in order to harness its opportunities<br />

for this new technology-dominated age.<br />

Rebecca: rbk.graphics, @rbkldr 95


28<br />

The Hive,<br />

by Chantal Gagnon.<br />

Today we see people addicted to social media and obsessively keep track of celebrities.<br />

The celebrity morphed into the new God that people follow, mimic and learn from.<br />

I have always been interested in people’s obsession with the Kardashian’s, especially<br />

Kim Kardashian West. Starting from a modest number of followers on MySpace,<br />

Kim Kardashian West has managed to collect an obsessive and loyal mass fan base,<br />

whom have sky rocketed her fame, power, influence and wealth. Her fans will defend<br />

her from haters, fule her success by buying her products, shower her with gifts,<br />

watch all her interviews and read all the articles on her, all in the name to feel closer<br />

to their Goddess, Kim Kardashian West.<br />

<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice.<br />

Chantal: My name is Chantal Gagnon.<br />

I am a Canadian creative who studied<br />

graphic design and media at LCC.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

What role do you think faith will play in<br />

the <strong>21st</strong> century?<br />

I think the media and celebrity will dictate<br />

and manipulate people’s faith. The groupie<br />

or fan club will be the new congregation,<br />

and people like Kardashian’s, Beyoncé<br />

and Trump will be the new gods.<br />

Rebecca’s magnetic personality drew me<br />

in to take part in <strong>21st</strong> <strong>Faith</strong>.<br />

I have always been interested in cult culture<br />

and people with hypnotic personalities.<br />

I find it fascinating how people can put all<br />

their faith into one person and have this<br />

person or the idea of the person dictate<br />

and influence the decisions we make<br />

and the paths we take.<br />

Chantal: gagnonbc.com, gagnonbc@gmail.com 97


29<br />

Look What They’ve Done<br />

To My Song,<br />

by Sam McDermott<br />

& Nik Rawlings.<br />

The concept for this project came to Nik and Sam when they were discussing<br />

the similarities and differences in religious upbringings. They discovered that although<br />

they both came from the Anglican church, they experienced the church differently,<br />

where one was more conservative and the other more liberal. They found in each other<br />

similar feelings attributed to the worship.<br />

The focal point of their involvement with the church was focused on the musical aspects.<br />

They wanted to approach <strong>21st</strong> <strong>Faith</strong> asking whether musicians in the church performed<br />

for their own personal gratification as a performer or to worship the higher power.<br />

While developing the project, Sam and Nik went to interview members of the church<br />

and worship team. Through this process, they discovered that there was a significant<br />

element of personal gratification through being in a position of performance. Whilst the<br />

focal point of the church and music was to lead people to worship God, there was an open<br />

recognition of the members involved in the band that they received stimulation from<br />

performing in front of the congregation and noticing positive responses to their actions.<br />

Following these discoveries, the sonic piece that Sam and Nik created had to reflect<br />

their similarities and differences between their church based performance experiences.<br />

<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice.<br />

Sam: I am a born and raised Londoner<br />

who always been interested in music.<br />

When this piece was created, my practice<br />

primarily focused on the curation of artists<br />

performance. I am now more interested<br />

in set design and building.<br />

Nik: I am a sound artist, dj and writer,<br />

having started life singing in a cathedral<br />

in the West Country.<br />

My practice focuses on vocal networks<br />

and mutable sonic bodies.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

S: Through Rebecca I took part in this<br />

project. <strong>Faith</strong> to me now is separated from<br />

religion and is defined by believing that<br />

you can achieve what you want to do.<br />

N: <strong>Faith</strong> spaces play a looming role<br />

in my creative memory. The opportunity<br />

to explore the power dynamics at play<br />

within those spaces as a musician was<br />

a great chance to explore and exorcise<br />

some ghosts.<br />

What role do you think faith will play in<br />

the <strong>21st</strong> century?<br />

S: As religion becomes more and<br />

more diluted, <strong>Faith</strong> will become less<br />

institutionalised and more personalised.<br />

N: I can only speak personally, but faith<br />

to me means simply not giving up against<br />

unreasonable odds. And I feel like most<br />

millennial artists have to rely heavily<br />

on that kind of faith.<br />

Sam: @666midwife / Nik: ni-ku.net, nik@ni-ku.net, @n_i_kuu<br />

99


30<br />

Untitled,<br />

by Abi Moffat.<br />

<strong>Faith</strong> to me, implies hope or trust in a system or belief.<br />

I place faith, everyday, in the act of painting as a therapeutic process.<br />

I travel through various states of ambiguity on a daily basis and my work captures<br />

an element of this in a physical form.<br />

Through abstract aesthetics, loose shapes, and varied layers, I play with the subconscious<br />

mind of the viewer, to let them interpret their own meaning from the ambiguous imagery.<br />

I explore the juxtaposition between light and dark, the use of rich colour to evoke<br />

an emotive response.<br />

With the possibilities available via the internet alongside digital art, film and so on,<br />

it seems that the act of painting has been given over by many artists in favour of self<br />

indulgent, disposable images.<br />

<strong>Faith</strong> can inspire a resurgence in a craft. It is important to me to preserve painting’s<br />

ongoing place in contemporary culture, through personifying paint<br />

and its material qualities.<br />

Abi: abimoffat.com, abigailkmoffat@gmail.com, @abimoffat


<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice.<br />

Abi: Abi graduated with a degree in Fine Art<br />

at Leeds College of Art in June 2013,<br />

where she was selected as winner<br />

of the annual ex-student show.<br />

Now based in London, she is<br />

represented by Saatchi Art. Her paintings<br />

sell internationally, and she has completed<br />

a number of public commissions, working<br />

with the likes of TfL and Leeds City Council.<br />

Abi also works as editorial assistant and<br />

assistant copy editor for The Saatchi Gallery<br />

Magazine: Art & Music.<br />

Abi works with acrylic paint<br />

and varnish as her prime materials.<br />

She works with no pre-conceived aesthetic<br />

in mind, subconsciously creating her<br />

paintings by layering through spontaneous<br />

and expressive gestures; enabling<br />

an organic process to her work.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

I was drawn to <strong>21st</strong> <strong>Faith</strong> due to my passion<br />

and dedication to develop my practice,<br />

whilst collaborating with other artists<br />

to combine ideas and concepts in a variety<br />

of media. I also look forward to presenting<br />

these ideas as a group within an exhibition<br />

space and to appeal to a varied audience.<br />

<strong>Faith</strong> as a theme, can take on many<br />

forms. As an abstract painter I aim to<br />

interpret such themes in an ambiguous<br />

way, keeping the subject loose and elusive<br />

for the viewer, but also keeping it in<br />

the forefront of my mind as I apply paint<br />

to the surface. <strong>Faith</strong> to me, implies hope<br />

and trust in a system or belief and this is<br />

something I experiment with through<br />

the use of colour and the juxtaposition<br />

between light and dark on a surface.<br />

101


31<br />

Feiern,<br />

by Nico Limo.<br />

“In this piece I seek out to explore the inter-sectional symbolism between religion<br />

and club culture, two topics who at first sight seem to reject each other. Despite their<br />

differences there are undeniable similarities between the two. The ritual of 3 is constantly<br />

reoccurring, the Father the Son and the Holy Spirit, communion smoke the blood of Christ,<br />

a fag a tipple and a bit of medicine.<br />

I was inspired by going out in Berlin and how people quickly treat it like a spiritual<br />

experience. I’ve always told people going out in London is more intense than Berlin<br />

and I’m constantly greeted by responses telling me surely that can’t be right. As clubs<br />

close early in London people have a shorter time to go out, they chug 5 beers in an hour<br />

and its a competition to see who can get the most fucked up. In Berlin however, clubs<br />

and bars almost never close. People are more about stamina and seeing who can last the<br />

longest. When you’re spending this much time in a space, doing a huge amount of drugs,<br />

it definately brings you to a different mind frame both physically and spiritually.<br />

Many people become sober or straight edge because of this.“<br />

<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice.<br />

Nico: I am a Graphic Designer according<br />

to a couple of pieces of paper the<br />

university has given me but see myself as<br />

an obsessive constant maker. I grew up<br />

wanting to be an “Artist” but thought job<br />

wise Graphic Design would give me more<br />

opportunity. So far it kinda seems like I’ve<br />

been getting way more recognition as an<br />

image maker (I dislike the term artist) than<br />

a Graphic Designer. I also design clothing!<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

Rebecca’s a friend of a couple of people<br />

I know. They insisted I contact her and I was<br />

already a huge fan of her project before.<br />

I’ve grown up in Methodist schools all from<br />

the age of 3 - 16, the traditional Christian<br />

faith left an odd impression on me because<br />

my family was never Christian to begin<br />

with! They’re Buddhists and growing up<br />

I felt like an outsider. <strong>21st</strong> <strong>Faith</strong> appealed<br />

to me because they explored faith in a way<br />

modern contemporary way which I could<br />

relate/understand. <strong>Faith</strong> is important to<br />

me and my practice because as an early<br />

graduate I am usually doing a lot of work<br />

for little or no money and because of this<br />

it is important to actually believe in<br />

your work and yourself.<br />

What role do you think faith will play in<br />

the <strong>21st</strong> century?<br />

I hope people will recognise organised<br />

religion is extremely toxic especially since<br />

any kind of faith is looking at provoking<br />

thought. Organised religion really doesn’t<br />

promote that. I think we can all agree<br />

the world is almost coming to an end<br />

and hopefully people will return to pure<br />

types of faith. <strong>Faith</strong> not looking to praise<br />

an entity / have idols / gods but rather faith<br />

in the human spirit.<br />

Nico: nicolimo.com, excitementdesigner@gmail.com, @nico.limo 103


32<br />

Study of my Calathea<br />

and a Talisman, Milagros,<br />

by Tess Rees.<br />

In response to <strong>21st</strong> <strong>Faith</strong>’s themes, I started to look at the process of collecting symbolic<br />

items as sentimental charms collecting items as self affirmation and self affirmation<br />

as an alternative to prescribed religion. Spiritual symbols, charms, milagros daily charms<br />

around the house that form a process of nurturing oneself.<br />

A practice as that looks at what ‘self healing’ is today in conversation with<br />

the pastel-hued social media ‘wellness’ we see constantly and asking how we can provide<br />

alternative visuals for self-healing in the present.<br />

An appearance of instability and constant production within the work<br />

is the ongoing process of a woman’s need to write a narrative of her own.<br />

I have been especially interested in processes of self healing as an alternative<br />

to religion. Especially for young women turned off by the traditional values that religion<br />

expects you to abide by.<br />

<strong>21st</strong> <strong>Faith</strong>: Tell us about you and your<br />

practice.<br />

Tess: I use an appearance of instability<br />

and constant production within my work<br />

alludes to the on going process of<br />

a woman’s need to write a narrative of<br />

her own. I take the woman from outside<br />

the manmade conglomeration of symbolic<br />

systems and place her in the forefront.<br />

I create multi dimensional imagery<br />

to interrogate the issues that arise from the<br />

fragmented body and identity of a woman<br />

- A fragmentation that occurs as a result of<br />

the woman often being identified as ‘other’<br />

throughout history. I use this uncomfortable<br />

sense of disjunction to my advantage<br />

to create unnerving and corporeal works.<br />

What drew you to take part in <strong>21st</strong> <strong>Faith</strong>?<br />

How is faith important to you and your<br />

practice?<br />

I have recently been conducting my<br />

practice as pseudo-scientific enquiry<br />

that looks at what ‘self healing’ is today.<br />

Recently my work has been in conversation<br />

with the pastel-hued social media ‘wellness’<br />

we see constantly and ask how we can<br />

provide alternative visuals and/or items<br />

for self-healing in the present.<br />

Recently, I have been especially interested<br />

in processes of self healing as an alternative<br />

to religion. Especially for young women<br />

turned off by the traditional values<br />

that religion expects you to abide by.<br />

Placed I have exhibited: Central Saint<br />

Martins, The Barbican, Palais de Tokyo,<br />

Earl’s Court Arts Hub, Brainchild Festival.<br />

Tess: tessrees.com, @tess_rees 105


Behind the<br />

Scenes,


113

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