Thursday 24 June 2021

My Works

 This is for Matt James and Cordon Bleu...


  

   

   

   

   

  



Thursday 5 March 2020

THE ART NEWSPAPER | ALEX DA SILVA ~ 1974-2019

Alex da Silva | Xand Artist

Photo by Max Dereto

Obituary for Alex da Silva (1974 – 2019)
Author: Joe Pollitt
Date: 06/02/2020
Alex da Silva died on 30th December 2019 aged 45. The causes of his abrupt death are still unknown. Born in Luanda, Angola in 1974 to Cape Verdean parents, Maria Iloisa Silva and Emidio Da Cruz Barbosa Andrade, he was the younger brother to his sister, Paula. Cape Verde gained their Independence on the 5th July 1975 and a year later, 1976 the family returned to São Vicente to raise their children in the liberated city of Mindelo.
As a young boy Alex excelled at sports in and out of the water; he was a competitive basketball player and a veritable trailblazer, introducing his friends to the joys of body-boarding and spear-fishing. Initially, he had his sights on becoming a Marine Biologist but harbouring in the back of his mind where thoughts of being an international artist. It wasn’t long before São Vicente seemed rather claustrophobic for an ambitious and confident young artist. In 1993, aged 19, he was granted the prestigious Prince Claus Scholarship to Willem de Kooning Academy in Rotterdam to study Art and Architecture. Alex welcomed the challenge and found the Academy to be the perfect institution for his style of art. 
At the Academy, he worked diligently on his technique, exploring the human anatomy, stretching limbs and torsos; creating tortured exaggerated figures on the canvas.  To the artist’s delight the Academy allowed him to explore and develop his own distinctive “Xand” style and after three amenable years, Alex da Silva graduated with honours in 1996.
A year later, the artist participated in the ‘SOCRATES-ERASMUS Exchange Programme’ and he was able to study a further two years at Alonso Cano Faculty of Fine Arts in Granada, Spain. Being in Granada, the heart of flamenco country, Alex surrounded himself in the rich Spanish culture and cuisine; enjoying the music, dance, olive oil and red wine.
In 1999 he exhibited in Cape Verde, the Netherlands and Spain. The shows where received well by the critics but sales of his works where not forthcoming. In 2000, he returned to the Netherlands and gained his Post-Graduate and Masters of Art, at Minerva Academy, Groningen. After his initial exhibitions news quickly spread and Alex became a “jobbing-Artist”, which meant that he was invited to attend workshops, be apart of group shows and create his own solo exhibitions. During the following decades Alex was constantly working and invited to exhibit in United Arab Emirates, Dak’Art (off) Senegal, Luxembourg, Curaçao,  Açores, Macau and China. He also attended various workshops in France, Portugal Norway and Italy.
In 2007, Alex went to São Vicente to construct and set up ZeroPoint Gallery. The gallery quickly became the cultural hub, boasting international architects, dancers, musicians and even writers. To support the new-build, Alex taught both drawing and architecture classes at the University of Mindelo. By 2008 the Gallery was almost complete and Alex returned back to Rotterdam. Now, having a permanent space, the artist started to split his time between two worlds.  He became increasingly interested in the development and global positioning of Contemporary African Art.
In 2012 he was assigned to create a monument, entitled “Clave”, in Rotterdam, to celebrate 150th anniversary of the abolition of Dutch slavery from the Surinam and Antilles in the Dutch Caribbean. This was a great honour as Rotterdam has one of the finest Sculpture Collections in the world. Alex certainly felt that this was a turning point in his artistic development. He worked with some very talented architects from Mindelo, Moreno Castellano and Eloise Ramos | Ramos Castellano Architects. At the base of the monument there are words stencils in Dutch, "Het lichaam dat slaaf is vertrekt de ziel die vrij is blijft" (The body of the slave is taken but their spirit remains forever free) from a traditional Cape Verde 'Morna' folk song. The sculpture was unveiled in 2013. This monument honouring the Slaves is now a permanent fixture in the Cityscape of Rotterdam. Alex da Silva is today housed among some the greatest sculptors of all time: Henry Moore, Auguste Rodin, Picasso and Carl Nesjar, Ossip Zankine, George Rickey and many others. All credit to the multicultural Rotterdamians for paying homage to an African artist and placing his Masterpiece “Clave” in such a prominent location, at the mouth of the world famous Rotterdam harbour at Llody Pier.
 
Although Alex will perhaps be best remembered for his “Slave Monument”, it is his paintings, his complex brutal agonizing figures and multiple portraits that need more exploration and exposure. As an artist he was prolific and leave a substantial amount of artworks behind. Alex had an incredible ability to work with paint, mix media, sculpture and architecture. He comfortably manoeuvred between the different mediums with such ease. His passing leaves a vacuum in regards to the cultural development of Creative Africa.

Alex da Silva in the Studio
Alex da Silva leaves behind his partner Brenna and their six year old daughter Odile.

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Thursday 13 February 2020

Alex da Silva | Xand Artist

Photo by Max Dereto



Obituary for Alex da Silva (1974 – 2019)
Author: Joe Pollitt


Date: 06/02/2020


Alex da Silva died on 30th December 2019 aged 45. The causes of his abrupt death are still unknown. Born in Luanda, Angola in 1974 to Cape Verdean parents, Maria Iloisa Silva and Emidio Da Cruz Barbosa Andrade, he was the younger brother to his sister, Paula. Cape Verde gained their Independence on the 5th July 1975 and a year later, 1976 the family returned to São Vicente to raise their children in the liberated city of Mindelo.

As a young boy Alex excelled at sports in and out of the water; he was a competitive basketball player and a veritable trailblazer, introducing his friends to the joys of body-boarding and spear-fishing. Initially, he had his sights on becoming a Marine Biologist but harbouring in the back of his mind where thoughts of being an international artist. It wasn’t long before São Vicente seemed rather claustrophobic for an ambitious and confident young artist. In 1993, aged 19, he was granted the prestigious Prince Claus Scholarship to Willem de Kooning Academy in Rotterdam to study Art and Architecture. Alex welcomed the challenge and found the Academy to be the perfect institution for his style of art. 

At the Academy, he worked diligently on his technique, exploring the human anatomy, stretching limbs and torsos; creating tortured exaggerated figures on the canvas.  To the artist’s delight the Academy allowed him to explore and develop his own distinctive “Xand” style and after three amenable years, Alex da Silva graduated with honours in 1996.

A year later, the artist participated in the ‘SOCRATES-ERASMUS Exchange Programme’ and he was able to study a further two years at Alonso Cano Faculty of Fine Arts in Granada, Spain. Being in Granada, the heart of flamenco country, Alex surrounded himself in the rich Spanish culture and cuisine; enjoying the music, dance, olive oil and red wine.

In 1999 he exhibited in Cape Verde, the Netherlands and Spain. The shows where received well by the critics but sales of his works where not forthcoming. In 2000, he returned to the Netherlands and gained his Post-Graduate and Masters of Art, at Minerva Academy, Groningen. After his initial exhibitions news quickly spread and Alex became a “jobbing-Artist”, which meant that he was invited to attend workshops, be apart of group shows and create his own solo exhibitions. During the following decades Alex was constantly working and invited to exhibit in United Arab Emirates, Dak’Art (off) Senegal, Luxembourg, Curaçao,  Açores, Macau and China. He also attended various workshops in France, Portugal Norway and Italy.

In 2007, Alex went to São Vicente to construct and set up ZeroPoint Gallery. The gallery quickly became the cultural hub, boasting international architects, dancers, musicians and even writers. To support the new-build, Alex taught both drawing and architecture classes at the University of Mindelo. By 2008 the Gallery was almost complete and Alex returned back to Rotterdam. Now, having a permanent space, the artist started to split his time between two worlds.  He became increasingly interested in the development and global positioning of Contemporary African Art.

In 2012 he was assigned to create a monument, entitled “Clave”, in Rotterdam, to celebrate 150th anniversary of the abolition of Dutch slavery from the Surinam and Antilles in the Dutch Caribbean. This was a great honour as Rotterdam has one of the finest Sculpture Collections in the world. Alex certainly felt that this was a turning point in his artistic development. He worked with some very talented architects from Mindelo, Moreno Castellano and Eloise Ramos | Ramos Castellano Architects. At the base of the monument there are words stencils in Dutch, "Het lichaam dat slaaf is vertrekt de ziel die vrij is blijft" (The body of the slave is taken but their spirit remains forever free) from a traditional Cape Verde 'Morna' folk song. The sculpture was unveiled in 2013. This monument honouring the Slaves is now a permanent fixture in the Cityscape of Rotterdam. Alex da Silva is today housed among some the greatest sculptors of all time: Henry Moore, Auguste Rodin, Picasso and Carl Nesjar, Ossip Zankine, George Rickey and many others. All credit to the multicultural Rotterdamians for paying homage to an African artist and placing his Masterpiece “Clave” in such a prominent location, at the mouth of the world famous Rotterdam harbour at Llody Pier.
 
Although Alex will perhaps be best remembered for his “Slave Monument”, it is his paintings, his complex brutal agonizing figures and multiple portraits that need more exploration and exposure. As an artist he was prolific and leave a substantial amount of artworks behind. Alex had an incredible ability to work with paint, mix media, sculpture and architecture. He comfortably manoeuvred between the different mediums with such ease. His passing leaves a vacuum in regards to the cultural development of Creative Africa.



Alex da Silva in the Studio




Alex da Silva leaves behind his partner Brenna and their six year old daughter Odile.








Monday 19 August 2019

Ugandan War


The word impunity has popped up a lot of late. I had to look it up. The Leaders of East Africa are killing with impunity. (at first, I thought it was some kind of nerve agent...impunity gas maybe or something like that? I hate you, I hate you..I'm going to kill you with impunity like they do in East Africa.)

*Impunity meaning exemption from punishment or freedom from the injurious consequences of an action.

I mention "Impunity" because it implies some kind of acceptance by World Leaders. It implies that those in their Offices, (those without jobs, as Mister Daniel would say) are giving the Leaders of East Africa a thumbs up; even going as far as to note, that those that are capable of such monstrous acts are model citizens and should be emulated right across the region.  

Tony Blair is the Political Advisor to Paul Kigame of Rwanda and lovely-fluffy Tony is doing it for FREE! Read between the lines here people...."Bloodshed" is Tony's Specialty. Once the "White Monkey" gets a taste for killing of course he'll happily do it for free. Where better than Rwanda, global experts in this field.  

Once we begin to understand that human life is a BUSINESS we are now getting closer to the truth. Daniel states, WAR IS A BUSINESS...African lives are being used as bargaining chips to pull the heart strings of the UN...as some white hotel owner in Kampala told me with a smile, "BLOOD IS READ!" The phrase "blood is read" means the more you kill the more media you receive...and it takes a lot of killing to make International headlines. Rwanda was just a taste of what is to come.

Are we so blind that we cannot see? There are massacres, genocides and holocausts happening today being executed by mass-murderering Leaders in seats reserved in the United Nations in New York City. There is a silent world war happening; where the more kills you make, the more Aid you create.

So this is what I learned from my travels. Africa is on the Rise but the cost of Development and Modernization comes with Great Rivers of African Blood.

Here is an interview about the War in Uganda, up in the North, which I shot, rather unprofessionally, with Quentin, the interviewer who is talking to Mister Daniel. 

*NB: It is important to note how brave these men are in speaking at this time, 2017. The country is under constant surveillance and many people have simply disappeared, so a huge "THANK YOU"  Gentlemen.





PART 2 ~ JOSEPH KONY | What is important to note here is why would the Ugandan Government have a State Funeral for a Warlord's Mother? Clearly to those in the North and Greater North they see War as a business and the more kills you make the more Aid you create. 


  

Ugandan Modernization








Saturday 18 August 2018

Musical Language | Musical Ghosts

Musical Ghosts by Joe Pollitt


Dear Editor of The Guardian,

To me, the keyboard is a piano and I the composer; making sense out of letters, the jumbled up words that sound nonsensical. The baloney sounds that shriek from the rooftops and those fluid gobbledygooks, the sloppy jibber-jabbers and mind dingalingers, the domdomdrops coupled with the old Frosbyflop, take-off and flyover.

Fingers tinkering on the ivories ~ stroking the notes with authority ~ gently touching the keys with controlled passion, as the writer tries to make his words speak for themselves. Then all of a sudden the keyboard becomes a drum-kit as it beats out the rapper tapper dodar and double-do-deday with the boom chap tapper, the tile tip topper, the thinga-me-jig, the two time loser, the big fat boozer, the good of the two, the best of the rest, the no good drinker, the top hat thinker, pinker, sinker, linka and dodopatti-day. 

Then the keyboard turns into a violin without strings. A cold slap snapper, a chick flick meeting, a sidedish, swordswipe, tongue-licking-peedee. I'll have a far flung dodee, a fat cat seeme, a boasemassimi dodar, a rum-bum-dobee, a first-time taka, a digga-de-do feedme, a pill-poppin yippee, a silly, dizzy hippy, a down on my luck seesaw, a swing by me Judy, a tea-total jambee, a washedout swinga, alost out dodee, a sweet sandwich eata, a popswinging teacher, and then at the end of the day it was time for a quick snooze infront of the newsbox doda, a snoozeme Granny, a wetdown puppy, a wicked cup of coco, a mocka-choca-medee before bedtime stories and out with the lights before 10pm2am sharp.

I touch-type and punch every key to make sense of the way the world is now, if not for you, then for me.


(For my dear friend | Simon Wajcenberg)

Wednesday 9 May 2018

Are you Qualified to SPEAK?


For quite some time I have been feeling a little despondent; it is mainly to do with this idea of the “Institutionalization of African Art”. Writing out an oral culture, which is clearly impossible, an oxymoron in fact. This talk really harps back to the days of dependency and that omnipresent hangover of Colonialism. The questioning of, who exactly is qualified to talk on the subject of Africa? This is a matter of control. It is an ugly way to find order and gain rights to have opinions and what and whose opinions matter? To take charge of the way in which the words are placed and what phraseologies work best, sadly now, these inconsequential issues are of enormous importance. This maybe so today, but was never so in the recent past or beforehand. Personally, my passion for Contemporary African Art stems from the easy ignorance, that enlightening lack of education and the freedom to play with the idea of a brave new world. Its very strength lay in its lawlessness and nonconformity. There was no decorum or airs and graces; this gave the whole environment a sense of liberation, an awareness of an incredible newness, something unique and special with ideas that where inclusive and at the same time, that quintessential accessibility to the creators of the artworks too. Initially, unbeknown to me, this “Otherness” was a door that I had been blindingly seeking my entire adult-life. Today, the artists who are being bestowed grants and awards are simply over-qualified, many have done their MFA, Masters in Fine Art, some have even gone as far as doing PhD’s, so the whole idea of Africa is now leaning towards the academics, the historians, the wealthy educated privileged and drifting quickly away from supporting the true, original, raw and authentic impoverished artists. So, with that in mind I wrote this today...

Heartbroken, that is the word I was looking for. The wilderness has been tamed; the crops sprayed with chemicals, the water-table contaminated and those in control just sit back and smile. All that is free must be repackaged, forced into a certain thought process and caged, surrounded by newly built fences, making everything so exclusive and therefore precious. Awards dished out to those that stay on-the tracks and those compromised few, so willing to play by the rules are highly rewarded. Elitism has well and truly won, she has her claws embedded into the undomesticated; constantly polishing the unruly, finding every kind of fault in nature and reshaping to make a square pegs fit into round holes. The passionate have been de-fanged, their poison bled out, rendering their potent-sting useless. What good is life on earth when all life is instructed to do as they’re told by voices of authority; overlooked by cameras on every street enforcing draconian reliance of a bygone era. The time to riot was yesterday; today we have all but destroyed ourselves. Clap as hard as you can, in order to see us out with a BANG.