When I was working in the centre of town, I’d usually check out most exhibition launches, regardless of the artist. Free drinks, the same crowd of familiar faces and occasionally some interesting artwork to see as well. These days I’m far more selective with my free time. Traveling for an hour into London to see an exhibition is less appealing unless I’m a true fan of the artist’s work. So when I got an email from Mysterious Al asking if I’d like a sneak preview of his solo show, ‘The Doomsday Papers’ at the Stolen Space gallery, it was an easy decision.
When Trashfilter last caught up with Mysterious Al, he was preparing to collate his work in order to get a show together – and it’s obvious that he’s been very busy. Put any preconceptions aside: whilst there’s enough of Al’s older established (and much-loved) style here, the work in ‘The Doomsday Papers’ is a totally new level. Beautiful screened pieces with spraypaint and collage details are well positioned alongside some new wooden maquette pieces, with a subtle theme of masks and monsters running throughout everything.
The first thing you’ll notice is the painted shed in the middle of the gallery – more on that in our interview with Al below – but as you walk around the space, you’ll see a sacrificial altar overlooked by Bela Lugosi-eque renditions of Amy Winehouse and Kate Moss, a huge photography-based main piece and a collection of Mayan mask prints that would make a modern-day headhunter proud.
Eager to interrupt Al while he was putting the finishing touches on the exhibition, I grabbed him for a few words about his exhibition.
At the end of the feature we did back in 2010, you mentioned that you were planning your first solo show… and now here it is!
I know! When we spoke about it, it was really just a plan: nothing had been set in stone. So I’m just really lucky that the gallery let me do it and that I had enough ideas to produce all of this work. And I’ve actually got too much work! I’ve never been in that position before.
So, which pieces did you work on first for the show? Are all of these new pieces?
Yeah – all of them are new. I was looking at masks and collage work, which really gave me a new lease of life. For so long I’d been going down the commercial route – and I loved it – but for ages I’d draw something and just couldn’t turn it into a finished thing. I didn’t want to just copy what I’d been doing on the computer: that didn’t work. But by doing this, I’ve stripped it back and got into doing things a little more abstract. Collage is just good fun. It’s immediate, you don’t get bored doing it and I’m really into it at the moment.
What inspired you to look at masks as a visual theme?
Actually, I should say, there’s none of this bullshit about ‘Oh, it’s something to hide behind’: I just really like the aesthetic of a mask. That’s all it is. I went to the Horniman Museum in Forest Hill: they’ve got a collection of witch doctor masks and it’s the coolest thing in the world. If someone came to see a witch doctor to get treated for toothache, the doctor would make a mask for toothache and do a ritual with it. And then that mask would go into a box until another person came in with toothache. And over time they’d make all these different masks and trade them with each other. And I just really like the idea of this. Some of these masks are so stylistically current, they look like they could have been made this year. These got me interested in Mayan art – tongues sticking out and that kind of thing – which I really like the symmetry of.
Over the years, we’ve all seen people doing things with wrestling masks and that kind of thing, but these are very different.
I want to take things even further, which is why I’ve started doing things out of wood as well. I don’t want to start making actual masks, but this seemed like a good next step to try out.
These pieces are all really bright and bold, which works really well as a contrast to some of the darker pieces we’ve seen from you over the past few years: layered paint onto top of black and white photography etc.
Yeah, over the years, a lot of my work has ended up being really muted – I really like desaturated colours and things like that. I think that works fine for digital work, where you can really make the dark areas bold, but for painting I find it makes them look really muddy and boring. Going into this Mayan theme, it’s given me the perfect excuse to try using some colours that I’ve never really used before. I was finding myself going to Chrome & Black and buying lime green paint and sky blue stuff: things I’d never really used that much before. It feels quite liberating.
Did you plan the pieces beforehand or did it naturally evolve into what’s on the walls now?
When it had to be a show, it had to be more concise: it had to be a bit of a story. This is my first solo show, so I did really have to think about what I was doing. I did a few things that are a bit more commercial or accessible, like the Amy Winehouse pieces, but the overall theme or theory behind everything here is different kinds of monsters. Different monsters in history all brought together. Influenced by Mayans, influenced by mythical monsters – werewolf, forest men, yetis – and monsters from the past and present like Dracula, the Phantom of the Opera, Kate Moss, Amy Winehouse…
It’s really nice to see a loose evolution in your pieces here. I can see where you’ve continued what you were working on when we last spoke. So, let’s talk about the scary-looking altar…
You know when you think of bad religion and Satanism and things like that? People always think of pentagrams and stuff like that. What I think is more interesting is English occult and Wicca and witchcraft. Weird shit made out of bits of stick and stuff. When I lived in Cornwall, we’d always find these sacred stones. We’d go out for walks on a Sunday and we’d always find these weird creepy things when we were out: piles of stones with burn marks on them – proper ‘Blair Witch’ type things, but before that was even around. Just evidence that something had happened there the night before. I didn’t find it necessarily sinister, but it always interested me.
I started thinking about sacrificial things and offerings and that kind of thing. Not so much in a morbid or evil way: when I was in Thailand, people would leave things out. Little deities and stuff. There’d be a crumpled postcard of a God or something… and then a can of Coke and a bag of crisps next to it.
And the paint-covered shed in the middle of the exhibition?
This… this is my studio. This is where I make my work.
So, hang on, this is where you made some of the work for the show?
No, no, no. This IS my studio: we moved it into the gallery!
Wow! How long is the show on for?
The show is open from the 4th March through to the 27th March.
It’s a big thing for me, it’s my first show, I’m really pleased with how everything looks and I just want to get back on people’s radars a bit. I’d been going down the commercial route for so long that I really missed doing the pure art stuff. I’m going to carry on with this momentum of work and I’ve got some more ideas with the wooden pieces. StolenSpace are looking after me now and I’m hoping to get involved with some of their other group shows and exhibit through some of their sister galleries and just see where it takes me really.
Too often you go to a show and there’s some lovely work, but it all looks a bit random or disjointed. This show is really cohesive, without being boring. You can get as deep and wanky as you like when you write about gallery shows, but at the end of the day you can narrow it down to this: all of the work here looks fucking amazing. I’d put any of these pieces up on my wall at home. And that’s probably the highest praise I can give.
Go and see the show, pray at his altar and try to pick up one of Al’s pieces before they’re gone.
- Exhibition and gallery details
Mysterious Al presents ‘The Doomsday Papers’
4th March – 27th March 2011
Dray Walk, The Old Truman Brewery
91 Brick Lane
London E1 6QL
Tuesday – Sunday
11:00am – 7:00pm
Filed Under: Reviews