King's 100 Artworks Auction

Today, I was asked to join the Top 100 Artists in London - I'm donating an artwork for King's College Hospital in South London - They are specialists in a treatment close to my heart - Bone Marrow Transplants. Absolutely delighted to give....what an honour. I have donated this work on acrylic print.

Atlantis Series 2012-2013 by Joe Pollitt

This artwork comes from a body of work that examines the ideas of light and life on earth. What makes up the image is not just the shapes and repetitive patterns but most importantly, the light. "The light of the world" as the Victorian avant garde  Pre-Raphaelites would say. Having grown up with original sketches by Sir William Holman Hunt, as my Grandfather, Charles Pollitt was his assistant for many years, I have wanted to explore this subject in a more atheist manner. The soul on earth is all around us yet few ever see what is omnipresent every day and that is the light on all things. Atlantis looks at the flickers of light on water (infants are 75-78% water, which reduces to 58-65% as we grow into adulthood; so light too can reflect not only on the surface of us humans but deep within) and this is shown in the creation of various simple layers. Initially, the architectural landscape or strong, colourful positive shapes. These are then layered or blended into abstract patterns and finally fused with the unmistakable mess we all leave behind - our human footprint - our imperfections unite us in our understanding of what makes us unique. All these aspects I have tried to infuse into the works created in order to generate a kinder and gentler way of seeing ourselves anew.

The work is made up of numerous layers of photographic images fused onto acrylic print.

Title: Atlantis

Artist: Joe Pollitt

Material: Print on Acrylic 

Date: 2012-2013

(Signed and date on the reverse)

To follow the Auction click here: http://www.togetherwecan.org.uk/kings-college-hospital/news/kings-100-artworks-auction

King’s 100 Artworks Auction

05.08.13 Categories: Centenary, Events, Fundraising

A group of King's nurses, patients and local people have organised an auction of 100 artworks to celebrate 100 years of King’s in Camberwell and the rich artistic heritage of the local area. The auction will take place on December 12th.

Thanks to the most amazing generosity the total of 100 artworks has been reached – in fact exceeded!

There are works from a fantastic selection of artists from internationally renowned professional artists to patients who have found in art a way to get through long and gruelling treatment. Scroll down to see a small selection of the wide and wonderful variety we have received.

All the works will be on display in the James Black Centre in the grounds of King’s College Hospital and can be viewed from the 1st of December by appointment.  There will be a private view for ticket holders with mulled wine, minced pies and music between 6pm and 7pm immediately prior to the auction on December 12th. We are immensely grateful to the efforts of our team and to MDM Props in Herne Hill for their help in making this exhibition possible.

The auction will then commence at 7pm in the Boardroom located opposite the shop in the Hambleden Wing of the Hospital. Paddles will be provided on arrival.

If you would like to attend the auction and share in the fun of bidding or just come and buy some specially created greetings cards and enjoy a minced pie please purchase a ticket online or in person from the Friends gift shop on the ground floor Cheyne Wing from Monday 11th November . Tickets are £5 and proceeds will go to support King's College Hospital.

Thank you to Rosebery’s Auction House, the Alan Cristea Gallery and the Antic Pub Group for kindly supporting this event.

We hope to see you there! Feel free to email kch-tr.100artworks@nhs.netwith any questions.

Purchase your tickets now

Follow @Kings100Artwork

Atlantis | 2012-2013

Atlantis Series

This body of work examines the ideas of light and life on earth. What makes up the image is not just the shapes and repetitive patterns but most importantly, the light. "The light of the world" as the Victorian avant garde  Pre-Raphaelites would say. Having grown up with original sketches by Sir William Holman Hunt, as my Grandfather, Charles Pollitt was his assistant for many years, I have wanted to explore this subject in a more atheist manner. The soul on earth is all around us yet few ever see what is omnipresent every day and that is the light on all things. Atlantis looks at the flickers of light on water (infants are 75-78% water, which reduces to 58-65% as we grow into adulthood; so light too can reflect not only on the surface of us humans but deep within) and this is shown in the creation of various simple layers. Initially, the architectural landscape or strong, colourful positive shapes. These are then layered or blended into abstract patterns and finally fused with the unmistakable mess we all leave behind - our human footprint - our imperfections unite us in our understanding of what makes us unique. All these aspects I have tried to infuse into the works created in order to generate a kinder and gentler way of seeing ourselves anew.

The work is made up of numerous layers of photographic images fused onto acrylic print.

Title: Atlantis Series

Artist: Joe Pollitt

Material: Print on Acrylic 

Date: 2012-2013

(Signed and date on the reverse)

Atlantis Series 
Artist: Joe Pollitt 
Date: 2012 - 2013
Material: Print on Acrylic
Location: Morocco

Atlantis Series 
Artist: Joe Pollitt 
Date: 2012 - 2013
Material: Print on Acrylic
Location: Morocco

Atlantis Series 
Artist: Joe Pollitt 
Date: 2012 - 2013
Material: Print on Acrylic
Location: Morocco

Atlantis Series 
Artist: Joe Pollitt 
Date: 2012 - 2013
Material: Print on Acrylic
Location: Morocco

Atlantis Series 
Artist: Joe Pollitt 
Date: 2012 - 2013
Material: Print on Acrylic
Location: Morocco

Atlantis Series 
Artist: Joe Pollitt 
Date: 2012 - 2013
Material: Print on Acrylic
Location: Morocco

Atlantis Series 
Artist: Joe Pollitt 
Date: 2012 - 2013
Material: Print on Acrylic
Location: Morocco

Atlantis Series 
Artist: Joe Pollitt 
Date: 2012 - 2013
Material: Print on Acrylic
Location: Morocco

Safety Pins

Safety Pins

Voodoo Let Us Pray

Henning Christoph
Artist/Curator/Film-Maker
Photo: Mara Balint

Voodoo | Let Us Pray

24.03.2013

Voodoo is the fastest growing religion on the planet. At last count there were 60,000,000 people practising outside of the shores of Africa and the figures are rising on a weekly basis. Perhaps the most exciting religion on earth, certainly the oldest: Voodoo is more misunderstood today than ever; often linked to or associated with the Occult, which is a misconception as Voodoo is a religion, rather than a Cult. The origins derive from the various countries mapped out in West Africa and Henning Christoph, the Anthropologist, Cinematographer, Curator and Founder of the Voodoo Museum in Essen, Germany Soul of Africa and Film Director has been exploring this subject from childhood. These West African series of rituals have captured his imagination since his boyhood in America, when he watched the first Tarzan movie on his black and white television set in late 1950’s. His focus was not on the hero in a loincloth, swinging from tree to tree, whilst screaming like a Banshee but more on those performing sophisticated ancient rituals with jungle plants and dried animal skeletons and skins, creating a natural chemistry in the wilderness. His interest and studies have allowed him to uncover some of the secrets hidden in this ancient oral traditions from those that practice it today in the outskirts of Cotonou, Port Novo, Abomey, Quidah. He has even gone as far as Cameroon in his explorations, finding new sources and fascinating insights into the origins of this glorious religion. The most spellbinding factor of Voodoo is the way in which it has travel throughout history and all over the world. The journey parallels the untold story of the New World and in the movie Voodooman, Christoph captures the spirit of a brave new world. A place few have yet to recognise and yet to register the significance of; the men, women and children that created the world. The slaves and their families of yesterday are seen via this film as the heroes of our today and our brighter tomorrow.

To do justice in writing on this delicate subject, the words should flow like beating drums. Solid blocks of knowledge found, passed down through generations of others knowing and being apart of the spiritual oneness of a world without end; beginning and returning again and again to Africa. Writing about an oral culture is an oxymoron but what is needed is to evoke the creative spirits inside in order to resonate the meaning of this magical religion and slip into an almost trance-like state; in order to write for the reader to appreciate the potential of the written words on this imperative and vital ancient of African traditions: ‘Vodou: Juju: Grigri: Voodoo,’ the religion that belongs to West Africa, the origin of all mankind. So complex, shrouded in mystery, coded into an enigma on an almost monumental scale, this religious paradox is so underrated; misunderstood; abused and discarded as nonsense but we must at this time think again. When all eyes are shedding tears for organized religions of Judaism, Christianity and Islam many of which have fallen into states of utter ruin. The Jews in Israel are constantly being chastised for their inability to be compassionate to neighbouring Palestinians and their inhumane code of conduct unbecoming of a respectable religion. And Islam is no better, being tarnished with the brush of violence; turning prayer into thoughts of terror and twisting the beautiful peaceful religion of Islam into a series of bearded men all hungry for blood. The new warmongers seeking bloody Jihad on every corner of the globe and Christianity is no better as the religion of the seemingly blameless Jesuits, who like snakes turn to bite wherever possible, all in the name of God, Jesus and their Holy Book of the Bible. Disgraceful Bishops, Cardinals and Popes acting with misconduct that is tasteless behaviour from men of the Cloth. The men without wives, wearing red and white robes are under the microscope as I write and trying to think clearly about the importance of worship and the necessity of rituals, ceremonies and religion in our daily lives.

In trying to write about the most sacred journey, the experience felt in Voodoo and to capture those emotions on paper is just an impossible task. They are too grand for letters or words and cannot be contained between the lines of an article or made into a Play. The extent of the emotions cannot be housed in a mere Theatre or even put on the big screen. The I-Max would not be big enough for Voodoo, this is something other and to be apart of it is the magic of life. The atmosphere of togetherness and the belonging to all things, whilst standing on the red soil of time, with others both young and old, all evoking the spirits of those gone before is an overwhelming and exhilarating experience unfeasible to condense into words. Waking the dead from their slumber and hearing the leaves on the trees whistle in the cool breeze of a Contonou afternoon, as the Egun roam the streets. Filling the hearts with fear as they swish and dance in the dust. Their costumes of bright colours and mirrors hypnotise the onlookers with the reflection of the West African sun but words are not enough. In fact the written word, some may argue, has blinkered the Modern African society rather than enlightened. Shrunken their togetherness and their abilities to communicate effectively. Modernity is quickly becoming increasingly myopic and selfish, with the focus on individuality and the importance of the family unit. Success requires some kind of stepping over or even stepping on in order to fulfil the world’s ideal of winners and losers. Africa was enlightened in its oral culture thousands of years ago but now is quickly losing the words uttered by the ancestors of the past and alarmingly ignoring their obvious important of their origins in Africa. The majority of the educated classes are constantly being brainwashed by the Western sense of modernity. Maybe we need to go back to a time when we were most creative and innovative, back to an oral culture where we again can hear the voices of the ancestors.

African Society should be asking who are those endowed few permitted to write the written word? Only those that can read but to be published the writer has to have read; make references to other words written and so begins the evolution of an elite and politically motivated exclusive club with chosen members all creating words translated into the various different mediums like books, plays and films. The written word has been caged, requiring strict parameters; it is not wild like the spoken word, as it is trapped in all its various formats. Here is where Indigenous, Traditional or African religions and the oral culture really comes into its own and should be taking a far more central role in our educational debated when discussing issues surrounding Africa and world religions. In the advent of the death on March 22nd 2013 of the great orator and writer Professor Chinua Achebe there has never been a better time to express the importance of African religions to an international audience. Not through shocking the viewers and demonising Africa but more by educating them. Dr. Achebe managed to intellectually create an alphabet between Continents, a dialogue that has been so vital in our understanding and respecting our worlds apart. He created the building blocks for future generations. Dr. Achebe always considered the duality of life’s complexities and wrote with such ambiguity that his literary works leave the reader in a state of healthy questioning. This is derives from his traditional upbringing in the Igbo village of Ogidi, eastern Nigeria and his deep understanding of the African oral culture and the religions in his Igbo heritage. The richness of the oral culture of Ancient Greece gave rise to organizational forms that were extremely democratic and participatory. The written word developed and then became mechanized with the advancement of the printing press, the way humans organized themselves followed suit. McLuhan states about modernity in the United States:

"In a culture like ours, long accustomed to splitting and dividing all things as a means of control, it is sometimes a bit of a shock to be reminded that, in operational and practical fact, the medium is the message. That is merely to say that the personal and social consequences of any medium – that is, of any extension of ourselves – result from the new scale that is introduced into our affairs by each extension of ourselves, or by any new technology. … Many people would be disposed to say that it was not the machine, but what one did with the machine, that was its meaning or message. In terms of the ways in which the machine altered our relations to one another and to ourselves, it mattered not in the least whether it turned out cornflakes or Cadillacs. The restructuring of human work and association was shaped by the technique of fragmentation that is the essence of machine technology. The essence of automation technology is the opposite. It is integral and decentralist in depth, just as the machine was fragmentary, centralist, and superficial in its patterning of human relationships." (McLuhan, 1964, p. 7-8)

There is much to be said about the benefits of an oral culture. The flexibility with language and open-minded in deliberation, which is far less pusillanimous than the shallowness of a restrictive European world view. The importance of understanding these complex African religions is imperative to our plural way of living and our construction of modern democracies. We must seriously educate our children to question all they have been forced fed. Voodoo should certainly be put on the National and International Curriculum for Religious Education as it will open up the exploring minds to an different approach to thought and broaden the horizon that presently have been intentionally hedged in and fenced. In the Voodooman, Henning Christop attempts to be a bridge, a facilitator to an Africa of otherness and explores the physical Gods in the Republic of Benin in his first film and follows with a surprising work set in the heartlands of America in his second. Voodooman was filmed at Papa Joe’s home in North Carolina, a Southern State better known for its fanatical Christianity than Voodoo. North Carolina is part of Bible belt of America but Papa Joe has found a growing number of African American individuals interested in the spiritual voyage of returning to their roots from the days of slavery. Back to when the African religions were mixed and created a hybrid of the original Voodoo throughout South America, the Caribbean Islands and the Southern States of America, better known as Hoodoo. To many in the black community in North Carolina Papa Joe is a Godsend and far more than just a Shaman. He is regarded more an educator, a facilitator to a distant past, a social workers, herbalist, psychiatrist, healer and with his long standing personal friendship with Henning and the links back to the origins of African Voodoo, Papa Joe is in high demand. Henning ensures he goes over to North Carolina every year to share with the congregation his extensive knowledge that he has gained from his numerous trips and relationships built over decades in Benin over the past 40 years. He imparts his experiences with slide film, photographs and videotapes, along with a series of extensive lectures on all the different ceremonies and rituals being performed from the West African countries of Benin and Cameroon. The whole process is a strong but often painful spiritual journey back to the ancient lands of Africa and the importance of the traditional African religions. As so often in the world, things are not as they first appear. Often things we have been indoctrinated to believe turn out to be the complete opposite. African Voodoo has certainly fallen victim to such negative accusations. Frowned upon by those that feel threatened and have their own agendas. Voodoo has no church as it is an oral tradition, passed down through families and therefore it is not organised by individuals, it belongs to the Clan. It has no structure and was originally given to the world without ransom. Unlike organised religions, Voodoo does not place its congregation hostage with carrots of free education or Aid. The African Religions in many ways empower those that practise but quintessentially heal those exploring a reason to worship; the importance of which is the glue to all our troubled Communities. The word Voodoo means God in the Fon language and God in Africa translates to healing.

Author: Joe Pollitt

Drawing Pins on a Cork Board | 2013

Work created for Safaa Erruas of Morocco by Joe Pollitt

Drawing Pins on a Cork Board

Repetition with similar or identical objects will cause patterns to emerge and shapes to materialise. When the object is metal, then light can reflect on or over the surface and facilitate; permitting the shape to have a sense of life, for it is the light that we recognise in others. The spirit that lies inside us all even those that have yet to shine. At first glance, placing drawing pins on a flat and dull cork board seems somewhat pointless and infantile but as the pins are carefully placed with purpose and consideration they serve a different goal. They evolve and with every push, they gather their energy. Building up so as to give voice, shape and movement; basic animation to an otherwise benign framework of a hitherto less than standard inconspicuous notice board. 

In seeking to find meaning in using the most mundane item like a drawing pin, it is possible to breathe life into the most futile. By building up layers of inane pins they start to unite and begin to gather a sense of reason in their togetherness. As the light continues to hit gently at first, then irritating if not persistently rude after awhile, so they mirror into the picture and echo the rays of light absorbed. They start to flash back to the onlooker a brand new vision, a brighter than dull look. What seemed pointless now has become sharp, determined with renewed strength and strong enough to be fit for purpose. The humble drawing pins in their union are clearly projecting a definite beam of a different kind. A glow that acts as if a bonfire to others, a warning to some but also a gentle support to the majority looking on; a reassurance that with the tiniest spot of sunshine, all is possible. To hold onto a fraction of a ray from even the dullest of days is vital. Struggling to survive the imminent threat of darkness that relentlessly intends to cloak the slightest of blazes. By staying as bright as possible, even in the shadows that have been cast, sends out clear messages to those that need them; that all is feasible in the world, as long as we are united with the slim chance that the light will come. And regardless how minor, together we can launch a ray that can spark up at least another fruitful day.  

In finding intense movement from a meaningless article, a life not seen to the naked and lazy eye can capture a glimpse of the anguish felt by all those that have been crowded with darkness. The reaction is quite deliberate and rather simple. By seeing the light flicker, over and over again, with the familiar shape repeating, the reflection on the human retina sees something anew; a clear vision, that previously had been blocked from sight. Often the viewer or critic will focus on a single frame. Failing to take into account the imagination and principle of the intended picture.

London Affordable Art Fair | 2013

My works are being shown at the London Affordable Art Fair - Stand I 3 - Redleaf Gallery in Battersea, London.

Website: http://affordableartfair.com/battersea/spring-2013

Contact
Redleaf Gallery
Gallery Owner: Nicholas Hills

Tel:  +44 (0)1892 526695

Title: Arabic Abstration I
Size: 16" x 12"
Material: Acrylic Print
Location: Marakesh, Morocco
Date: 2012
Artist: Joe Pollitt
Price: £480

Title: Arabic Abstration II
Size: 16" x 12"
Material: Acrylic Print
Location: Marakesh, Morocco
Date: 2012
Artist: Joe Pollitt
Price: £480

Title: Medina I
Size: 16" x 12"
Material: Acrylic Print
Location: Marakesh, Morocco
Date: 2013
Artist: Joe Pollitt
Price: £480

Title: Medina II
Size: 16" x 12"
Material: Acrylic Print
Location: Marakesh, Morocco
Date: 2013
Artist: Joe Pollitt
Price: £480

Today I think I am Jesus Christ

Today I think I am Jesus Christ.

The Saviour of Africa but maybe it is just a phase.

I am more of a Reject than JESUS!

I have sacrificed myself far more than Christ, himself!

I have dedicated my life to the peoples of Africa.

Can Jesus say the same?

Today I think I am Lord and Savoir of the World.

Maybe this is just a silly little phase.

Would you believe me if I told you;

"I am the Saviour of the World?"

Did they believe Jesus when he was alive?

I am the Light of this WORLD..I am shining through.

Smiling to you all whilst you so quietly mock me...

I have been gifted with so many talents that I have yet to use.

You will never believe the man I am. You spit at me from behind your screens.

I am the God that you refuse to worship. I am the light of this world!

I want to wake you all up...Up to yourselves.

Point to the people you are dealing with.....

I want to wake you up to your full potential.

Insult you if I have to.

I want to wake the world up to it's full potential.

I wanna make you all see clearly.

I wanna feed the poor and heal the sick.

I wanna take my goodness everywhere.

I wanna tell you who I really am. Expose myself to all of you.

I am the Light of this World. You are merely players..

Producing art and selling it...Selling yourselves too short.

I know I will be deleted soon..Rejected yet again...

You fools what are we looking at here?

We are looking inside the most important Continent on our planet.

With all those sacred voices shouting.

We are looking into the heart of life on EARTH..

SO DON'T PLAY with these Africans..They are not to be played with....

They are the reason we exist at all.....

This is a Game that you are not playing. You've not even been invited.

Abused, used and shown to be moronic.

Can you see what I am looking at yet?

I can walk into Africa and steal chunks of History merely with my credit card.

Can you see what I can see....?

This is a Game that you have not even been aware of...

Too busy working, killing, starving and

playing with your kids and feeding yourselves

rotten to the core...

The importance of Culture is calling!

Can you see what I see...? Something needs to give.

Somebody needs to give and keep giving until Africa fines respect. 

I can control the world with this machine at my fingertips.

Define a Continent's History if I wish.

And off I go to some small country in Africa and

stealing History here and there..

because the Africans careless what I do...

just so long as I pay my way and pay their bloody bills....

What shall I rob this time on my journey out to Africa?

This is madness and you know it is...

Today, I am stealing 2010 in some Banana Republic.

Buying up chunks of African History...yum yum.

The irony is that I am on Welfare,

even so I can buy you all up.

Buy you all up with my credit card. 

Buying up Modern Histories

of all the glorious countries of Africa

simply with my credit card. No crunch for me,

I am too busy buying. Happy as can be.

I saw a show years ago called 100% African down in Bilbao..

Who is allowing these people a platform to speak about the AFRICANS...

"They know not what they say. My God will never forgive them."

They know exactly what they are doing and they are laughing in our faces.

We must save each and every country on this Continent.

Regardless of our Nigerianness we must see beyond these shores.

We must start to begin to see ourselves anew. To see ourselves important.

I am telling you this because I love you. There is no other reason to write.

Enough for now. I have made my point. I am putting down my pen.

Butterflies by Joe Pollitt

QUIET RIOT.
I wanna RIOT.
QUIET RIOT,
a RIOT I want.
QUIET RIOT.
I wanna RIOT.
QUIET RIOT,
a RIOT I want.
QUIET RIOT.
I wanna RIOT.
QUIET RIOT,
a RIOT I want.

quiet riot.
I wanna riot.
quiet riot,
a riot we want....

Building Blocks

Title: Building Blocks

Date: 2010 to 2013
Material: Digital Art on Board
Size: 100cm x 50cm
Artist: Joe Pollitt
Signed and framed by the artist

Description:

Each image is actually one of the same but the emphasis is on the application and use of colour. The pattern changes depending on the colours used. All pictures and paintings are built up with layers of colours and defined by the black and white similar to literature. The paper is white and the words are black and through this basic medium we have created the simplest form of art, the written word. So the definition of a painting lies in the shadows of the works and it changes depending on the accent of lights and darks. The eyes are deceived and see either a flat two dimensional surface of are encouraged to see a more dynamic three dimensional structure evolving.