Mike Ballard: Advertising The Invisible

22 Nov – 29 Dec 2103

The Residence Gallery
229 Victoria Park Rd, London E9 7HD

Words, photos: nolionsinengland




Experiencing a Mike Ballard show tends to induce a profound revelatory consciousness and his latest offering “Advertising The Invisible” prompts the thought what a crackingly versatile word “warp” is. Obviously there is the connotation of intergalactic travel at a unit of speed probably faster than light. Then we have the twisting tone-stretching acoustic meaning where harmonics, sounds and pitches are all crushed together then allowed to expand into a vacuum exclusively occupied by percussive beats. A ship can be constrained, prevented from taking off can be tethered by a warp. Finally, there is the sense in which warped describes a fractured style of thinking, a deviant state of mind. All these possible senses collide, clash and rub eachother up in a Mike Ballard show, he is truly warped. Jesus weft.





Media is another multi dextrous word one could twist and apply in a multi faceted way to the content of Mike Ballard’s show. Media rolled out include photographic collages, hacked objects converted to …… well, receiver/generator/transmitter devices, musical productions, chromatographic representations of digital signals. It sounds like I am making this up so perhaps some of those media can be illustrated using the time honoured tradition of photography and in the tradition of several other blogs we know and love this time, it’s pure single handed wobble-cam shooting.




A large cast assisted in the production of various musical and visual experiments, all part of the soundtrack for a completely fictitious and obviously unmade film but in this PR saturated era of spoilers, teasers and studio twitter leaks, it seems a logical step to release the soundtrack before the film has even been conceived. The Aerosol Orchestra played loud, ambient and percussive, leading a line up including The Clapton Rifles and The Long Range Desert Group, remarkably, all of them composed and conducted by Mike Ballard. Ensemble members name checked on the band bio include stationary related fictitious luminaries such as Rack Staedler, Phil Edding, Uni Wide, Zig 50, Shu White and possibly Pete Pental. Graffiti taggers will recognise a theme.




Ballard provides us with a broad range of visual treats ranging from his black and white photo montages inspired by Carravagio, Metropolis and brutalism to the optical elements of previous hacked audio visual experiments with record decks, cameras and light boxes via abstract cosmic geometry.




Despite the absence of direct cross over to Ballard’s notorious graffiti persona, this show still manages to illustrate what a hugely diverse and accomplished talent he is. We avoided clichés such as “internationally renown” at the start of the article and I’ll be buggered if they are going to be allowed to creep in here at the end but for sure after setting foot in LA, Europe and shortly, San Paolo, it’s nice to see catch a Ballard show on his East London doorstep.

Mike Ballard I.D.S.T

Block 336

336 Brixton Road, London

1 - 29 June 2012

All photos NoLionsInEngland

Mike Ballard's second solo show this year, I.D.S.T opened in Brixton last night.

 The venue is a non descript utilitarian basement concrete box, perhaps a bit too labyrinthine to be described as a plain box, various rooms, slots and box rooms house a varied collection of Ballard’s lastest photograph collage and film experiences.  The centrepiece is a vast low ceilinged room roughly the size of a tennis court with 5 very large looping film projections playing on the walls of three sides.  The films are essentially process documentation of the creation of a painting.  It seems that in each one Ballard is studying the process of paint explosion, created by cracking open a spray can of paint on four spikes.  Each of the films bursts into life as the can erupts, then the paint is captured dribbling across coloured backgrounds, an abstract dynamic colour discharge across the screen. Each of the slow drips, dribbles and runs are mesmerising to watch, trance alert – no drugs necessary.  We love colour! 

 

The end result, the accidental by-product  of the hours of filming is a gorgeous glossy abstract splatter filled canvas displayed outside the film cave.

Films frequently crop up in the Ballard output but this is a long distance from the scratchy over-dubbed retro-future black and white sci fi edits seen before.    After some 15 to 20 minutes in the film area emerging into the comparative light and bustling throng of the crowd taking in the rest of the installations was a stimulating shock to the senses.

 Also featuring in the show are a set of photograph collage light boxes and the kinetic lightbox (circular thing on the floor) recently seen at Ballard’s Arch 402 show,  these photos below come from that previous show, the installation at Block 336 benefits from compactness and proximity which makes them relate better to eachother than as shown at Arch 402.

 (Not all these lightboxes are in the I.D.S.T show)

Also making a return are a trio of photographic paint collages on aluminium,

 Astro Traveller Far Rockaway; Astro Traveller Between Patterson and Benson

 

 The I.D.S.T in the show title is the acronym for If Destroyed Still True, its addition to a piece of graffiti abuse giving the slur a longevity beyond the mere existence of the visible writing.  The allusion is to the impermanence of the moment of creation in the fluid paint transitioning into end product, Ballard’s film brings about a recycling of those moments in the creation of his New Instruction painting, lending that fleeting point in time the potential for an infinite existence, he has the potential to recall those moments and recreate them at whim and for ever.  That’s what Graffoto reckons anyway.

 This show brings together his collage light box units, chromoprint photographs and his films in a more coherent collection that anything we have seen in the past couple of years.  There is none of the wall/ceiling/floor painted illusion room stuff that he does so well (e.g. Dalston garage, 2008) which neatly swerves the “one-trick-pony” issue.  Yet the film zone is a beautifully colourful, disorientating and immersive multi-coloured cinematic experience.

PS - ARTIST'S TALK, Fri 6 Jul 2012, feat Hall Of Mirrors

Last night (FRI 6th July, 2012) Graffoto joined a gratifyingly large standing room only crowd at Block 336 for an artist talk by Mike Ballard [, interrogated by Alex Daw].  Seems a good excuse to supplement our own guesses above with lies and half-truths from the artist's own mouth, not to mention better photos that weren't taken leaning against pillars and people.

Going back about 7 years, Ballard moved beyond his 20 year pure letterform practise into a broader fine/conceptual art direction including mashed up video making inspired by Stan Brakage.  In a 2006 video of a serpentine spluttering paint line filmed by a cam mounted on a spraycan, the focus is on the dynamic jet of spray and the surface transformation at the impact point, this is very much a primordial ancestor which has evolved into the the IDST installation.

Ballard's fascination is not just with the painting and not specially with the process, it's just the paint itself.  Random uncontrolled paint, released explosively from the pressure cylinder of the spray can and distributing itself according to the brutal laws of nature.

Its not just the motion, explosion and dribbling that Ballard wants to experience, there is the sound too, the sound of the can puncturing on the nails, the hiss of the paint propellant being released from the can and the splatter and drip of the paint hitting the canvas surface.

The physical characteristics of the space where the films are showing touched a an ancient autobiographical note for Ballard.  He grew up in a small village in the remote provinces and in his words, "it's hard to be prolific all-city when you are the only graffiti vandal in a small village" but the limit of the 13 year old's world was a rail track which passed through one of those cavernous box like tunnels full of pillars and this was where the delinquent Ballard started out doing graff.  This happy hidden practise ground was referenced in Ballard's "All of Everything" show a couple of years ago and the Block 336 space has a strong echo of that ancient spot.

The Cutting, detail from The All Of Everything Show, 2010

vs....

Hall Of Mirrors v. Mike Ballard, IDST film installation

The origins of the three chromotagraphic prints became clearer (as in, this time I can remember what he said).  Another Ballard film process involved directly painting on and scratching a super 8 compilation of fast moving fast moving cuts, this "spoke" to Ballard by drawing his attention to invidiual frames which got stuck in the projector, offering themselves up for longer scrutiny. Ballard got the message and created the Astro Traveller Far Rockaway images from those frames.

The light box collages are entirely found and appropriated internet images, distorting scale and deliberately mixing hi res with very poor quality pixellated images, dancing around Ballard's long cherished themes involving mysticism, hip hop, Sun Ra, Ramellzeee, mysticisim, tunnels.

Mike Ballard -The Ultra Nomadic Def Smith Cycle

Edel Assanti Project Space
276 Vauxhall Bridge Road
London SW1V 1BB

Thursday 24th March - Saturday 30th April 2011

All photos NoLionsInEngland except HowAboutNo where stated.
Video by Mark Gostick via GalaxyRays


Hanging a few canvasses and calling it a show isn’t Mike Ballard’s style. Ballard deals in whole room illusion experiences, multi-media sonic and video assaults, challenging conceptual celebrations of “taking without consent” and the intersection where delusional un-hinged jazz weirdoes meet dazzle painting. The whole lot flows through the fizzing circuits of Ballard’s brain and discharges via electrical components melded together by the mad boffin’s own hands.




The Ultra Nomadic experience starts with a curious framed circular patterned paper, various Ballard themes can be recognised in the concentric circle patterns but the most interesting orbit is the very out edge which has two semi circles of patterns of images, each image remarkably similar to its neighbour but different by some incremental detail like one of those flicker book animations, and the significance of this is revealed as later as you dive into the subterranean space.




First stop in the basement is a garden shed, a hut – no hiding that’s what it is. Inside set in the middle of the floor is a low level kinetic lightbox. The glossy black box is punctured by a circular screen, a beam sweeps out repeating circles picking out a viscous, boiling universal. Is it detecting the beginning or the end, or a continuous repeating loop between the two? Who knows, some say it marked out an organic intra-cellular voyage path picked out by a navigation system travelling within a mutilated, knifed body. You choose, it’s in the eye of the beholder this one.


The light arc shows the sweep of the light line in the photoexposure time


The Ultra Nomadic Def Smith Cycle is a bigger, better cosmic traveller, a maker of tangibles and intangibles (Smith as in smithy, forge) and What The River Brings, a poker phrase and also the oldest piece in the show dating back to about Ballard’s All Of Everything era, represents that voyage, the transformer nomad complete with suitcase sets off propelled by energy from the larger older version of himself.




There are two other minor photographic collage pieces hidden away in an almost un-noticed recess at the rear of the basement, Ballard’s view on these springs from his obsession with music. The images pay tribute through the representation of a mystical figure transformed with visible bizarre inner energies and wizardly properties, the whole referencing the originators of hip hop DJ Kool Herc and Grand Wizard Theodore. Once again Mr Ballard is responsible for me wasting entire minutes googling musical references an indie honky knows nothing of.




All of which doesn’t so much as define a backdrop as get completely blown away by the main feature of the show. You can’t miss it, its ambience is apparent as the lo fi one note synth-meets-stuck-oscilloscope-drone permeates your head from the moment you commence your descent at the top of the stairs. The source is a new installation but one that very clearly shows its relationship to the LaPlace Transforms sculpture which Graffoto patiently explained after the 2009 Long Arm Gallery Galaxy Rays show.




In this incarnation, an edition of the circular paper Ultra Nomadic Def Cycle drawing we found at the top of the stairs rotates on a platter with two turntable pick-ups. One tone arm has a scalpel blade resting on the rotating disc, this both creates and picks up the vibrations though unlike the earlier Laplace Transforms, the blade doesn’t cut into and destroy the disk. The signal passes through a vocoder which results in the sonic eminences we hear. A second tone arm holds a small camera and a light.




Compare the Ultra Nomad Def Smith Cycle above with the LaPlace Transforms from the 2009 show:


Mike Ballard - LaPlace Transform, Bristol 2009, photo: HowAboutNo


The frame rate of the camera, the rotational speed of the disc (78RPM)and the separation of the images around the paper have been critically tuned so that each successive image captured by the camera is dead centre in the frame. The resulting live “time lapse animation” is projected onto a screen built into the housing, Ballard christens the whole thing a sonotrope merging the idea of an image generator and a self noise generator in one device.




The sculpture is topped off with various minute figures signifying a mystical origin or source. The device radiates warmth and a riich lushness, coning you into supposing that the innards must be full of valves and “Elvis at Sun Studio” microphones




So much for describing the appearance, the experience however is nothing without the sound. This whining acoustic screech won’t leave you alone, you can try ignoring it but your subconscious always picks out the tones, some crazy inate Fourier analyser within your nervous system locks onto the frequencies then shifts to pick out some higher harmonic, then a different tone. The effect is as if the instrument is somehow being “played” with a gentle, slow tensioning and relaxing of the “angry flies trapped in a balloon” knob.




Trance like rapture would be a suitable response. If the images generated by the same disc as the sound aren’t perception enhancing enough, then this is probably exactly the sound track for a fairly bad trip on psychedelic grade As. The ambience needed sylph like naked females to slowly whirl around, arms aloft in complete immersion in the mood but none of them could be persuaded. What you really want is to witness! Thankfully, Mark Gostick produced this really slick video which Graffoto has nicked without consent.


from GalaxyRays by Mark Gostick

Interestingly, the inner images, a silhouette figure saluting the sun and some geometric patterns are being illuminated at 50Hz (probably) and are rotating at 78rpm and as you can see in the vid that image moves forward very slowly, a bit like the wagon wheel stroboscopic illusion on film.

This show is about transformations and trance, repetitions and electricians. Compared to past shows it is more about immersion than illusion. If you are a tall slender hippy chick with your own stash of hallucinogenics, please get in touch for the Graffoto guided tour.

A few other photos here.

Mike Ballard - Whose Coat Is That Jacket You're Wearing

Walker's Tailor
157 Robert St,
London, NW1 3QR
8 – 23 October 2010

All photos: nolionsinengland



"I woke with a bolt this morning. I had been dreaming about the night my jacket went missing. I could see it all in the dream. Where everything and everyone was in the pub. M and E were sat at the table as I got up to goto the loo. My jacket hooked over the back of the chair. As I enter the loo, M goes to the bar, and starts chatting to two girls, while he’s waiting to be served. Elliot goes over to join hime (sic) and help with the drinks. In that split second A guy moves over to our table, squeezing through the crowds, grabs my coat and is out through the door, all while I am still pissing. It is the night everything changed." MBSC:JC/200.19


Ever wondered what kind of kunt lurks in a bar with the objective of stealing your personal property? Well Mike Ballard has created an art spectacle proposing “I am that kind of cunt”.

Mike Ballard has spent ten years taking his twisted and silent revenge on an innocent(ish) society. His story is that ten years ago a prized jacket was stolen from him in a bar. His grief and rage prompted him to go on a larceny spree, stealing coats in revenge against that silent unknown threat, the bar dipper.


Walker's Tailor


Now Mike is contrite, seeking to right his wrongs and to exorcise the demons. “Whose Coat is that your jacket is wearing” is a display of 200 coats Ballard stole during this 10 year campaign of shame and evil. Turn up, you might find yours and if you do Ballard wants you to have it back.

There is a twist of course, you have to be able to rigorously prove it is yours. Ballard never stole to profit, or to clothe himself or even particularly to inflict trauma and pain on any individual victim, he stole as revenge. He would then photograph every jacket, note the date and record the contents of every pocket. So can you remember what packet of sweets and phone number written in lipstick was in the jacket when it got stolen? Ballard has it all catalogued on a secret indexed card database and you just have to get the description of those details right to get your coat back.

"Fashion Week is here again, and loads of after parties going off. There’s always some dizzy intern working on the coat check" MBSC:JC/200.125


The show itself takes place in a tiny shop, seemingly formerly a tailor’s workshop, A densely packed forest of jackets hang down from the ceiling, you have to stoop low to move around. Hanging from each jacket is a kind of dated looking luggage label, each of which has an entry from Ballard’s diary.




The first sensation that hits you entering this cramped space is the smell, a whiff of damp mustiness falling off a collection of wet weather gear that has been stored away for too long in a dark cupboard.

The art within this show has to be perceived as a number of layers. Firstly, the tight packing of the clothes obliges you to see the aggregation of the individual deeds, the woods rather than the trees. The artistic desire to create a shock is partially satisfied with this overwhelming sense of the total misery represented by all this stolen property.




Ballard has structured the experience so you can’t really take in the details of individual garments but what you can appreciate is the next macro level of detail in the experience, the individual; statements tagged to each jacket. These reveal the real art of the show in the detail of the personal confessions, the insights into the mind and bizarre logic of the serial coat purloiner. One thing missing from these written vignettes is any sense of shame or guilt. Quite often the message is one blaming the victim and the words lead us to conclude that Ballard has actually never stopped blaming himself for whatever lapse or buffoonery on his part led to the loss of his jacket.




Of course there is way more to this than merely running a lost property locker. What Mike Ballard is saying is let’s see how much you can take, how sanguine can you be about the notion that celebrating other peoples transient misery is art and here we zoom back out to the” big idea” level of his art. It certainly has a shock factor. It is verging on performance art, and a very cerebral performance at that. Ballard is putting himself in the firing line (metaphorically if not always literally, it may not actually be Mike Ballard in the space at any particular time!) for the moral indignation of the many and of course the special fury of the few should any victims actually find their coat among the Ballard trove. In terms of the personal danger Ballard might be placing himself in this is almost up there with the conceptual artist Chris Burden who had a mate shoot him in the arm for art in 1971.

Let’s not forget the risk of police scrutiny Ballard may attract. Stealing coats is theft, thieving on this scale goes beyond petty, who is to say that Ballard won’t find himself assisting the Met with their enquiries some time soon.

"Were the answers to be found in this long war of the will against the power of taboo? I doubt it so I took another and another and another" MBSC:JC/200.161


The added ingredients in this conceptual layer cake include the idea of catharsis through public humiliation and also the challenge to a Society which incarcerates as a punitive measure – can you forgive me? If you can’t forgive the reformed coat thief, then what’s the point in prisons because you will clearly never forgive nor forget anyone who has been through the “that’ll teach you not to do that again” system of correction through punishment.

The reaction to the announcement of this show has firmly focussed on the big concept, both public (via the internet, that lovely dis-intermediating tool for direct and un-censored expression) and press have homed in on the clash between the artistic concept of creating a shock spectacle out of stolen property and the personal risks taken by the artist in revealing this despicable history.




Ballard is unique in creating a art concept that exposes him to vilification and possibly violent retribution, it is fascinating to watch and interest provoked in his concept has gone world-wide. With this particular genie now out of the bottle it is possible to run with a whole new genre of “Look I’ve been naughty, me” concept art performances.

"Why put your coat in a locker then not pay the 20p to lock it. It doesn’t make sense for the sake of 20p. You will from now on though" MBSC:JC/200.92

To test the integrity of the back story, and to dispel the notion that even the facade with its tangentially linked and convenient name might be a sham fabricated by Ballard, with a little “due diligence” on the internet Graffoto tracked down a photo of Walkers Tailor in its genuine previous life.


photo from online business directory here

Open during the huge draw that is London’s Frieze art fair, this show is very close to the Frieze site, about 10 minutes walk from the Frieze entrance if you cut through Chester Terrace to Albany St, or about 20 minutes if you walk the long way round past Great Portland St tube station. This is likely to be more confrontational than anything you are likely to see in that tented world of the surreal unreal.

Graffoto has been a champion of Ballard’s art, his immersive room experiences and the quality of his canvas paintings and light boxes have always been exceptional. There is nothing on sale here which actually isn’t new for Ballard but still this show is a totally new kettle of aquatic lifeforms. It is a show big on concepts and big on risks. It’s a show designed to be controversial, intended to shock and bound to provoke extreme reactions. The crime of stealing coat is a very intimate one, the property is personal and in virtually every instance the victim and perpetrator are in the same room at the same time. Should anyone identify their jacket, respond to the provocation and give the artist a slap, we will be at the front of the queue pointing and saying “you got what you deserve”.

"B. just called me and said she had her handbag stolen. Shit!!!....what the fuck, I’m raging but what can I say. I hope she never finds out what I’ve been doing. " MBSC:JC/200.39

Mike Ballard - Shadows Of Tomorrow

Mike Ballard has done two previous illusion room shows. Amid the intense imagery fusing fine art collage with wild style forms and the synapse searing contrasts of the black and white colour scheme, Graffoto has never really done justice to those experiences. His latest illusion project is located in a private upstairs room above the Macbeth Pub, Hoxton St, London. This time Graffoto asked Mike Ballard to talk us through his latest wall, ceiling and floor illusion installation, then decided to throw away its own rulebook (though no one could find it so we think it got thrown away long ago) and let the artist speak direct to you in his own words.

Words: Mike Ballard with intro, endy bit and swear filter by Nolionsinengland
Photos: nolionsinengland except Mike Ballard where noted



“The title is The Shadows of Tomorrow. As in today is the shadow of tomorrow, and just sort of now...Present and stuff. Taken from the Madvillain tune 'shadows of tomorrow.


Photo: Mike Ballard


The character with the rays coming out of his eyes, that’s Vision, but in negative.



The first ceiling focal point is a man exploding, just opening to the universe,he looks a little bit like Jesus but its actually a silhouette of Quasar from the comic era. I thought I’d put him on the ceiling because its [like] opening up to the sky.




There are power figures like the wolf, the superhero, and the face looking backwards is a really graphic version of a character from Carravagio. Then it goes psychedelic with the doors leading out to the universe, mortality, double skulls. This looks like a turban but its a chest, I mirrored it there, on top of the cloak coming down then it starts going into a bit of wild style.




The other ceiling focal point is based on synchronised swimmers, I did this stop animation of this clock ticking round – I thought it would be a good centre piece,. The first focus is more of an explosion but this is more of a 60s trippy looking and round here, more false perspective type thing.




Down the other passage [along front of building] we get mystical again with this horse, a power figure and these dismembered bodies, is part of a sketch by Rubens, part of it is figurative, then the female superhero’s arm is going up and another superhero with a knife where the horse’s second leg would be and then it just flows of into style.




The fissure, the crack is the cosmos all just opening up, the clouds, the energies, the dust from the hooves from the horse, then a bit more planetary solar system stuff, and then..i just thought the girl looked right painted opposite. At first people didn’t see the girl, until I joined it up with the ceiling. Since I did the rest, the girl and the animals have become a bit more visible.




I like the dismembered limbs, just like the bits but I always like painting girls. Like the sorceress from the University of Arts All Of Everything work.




This is not so much an exhibition, i was commissioned by the pub to install all this painting, i am working on a lot more video and collage stuff for a show later on in the year which is more the direction i am on at the moment.

I just like to muck about with the perspective and the scale of things like the size of this girl compared to the horse, just throwing it in, it’s just a weird jumble of things but it has this energy, I’m really into the horses and the clouds from the hooves, energy, dynamic , battle things.



I’d say it took a week and a half solidly, the floor will get fucked up, that’s why we varnished it.

Next one after this, I might try different colours, red and white, blue and white.


Photo: Mike Ballard


The first Ballard room was installed at the Cept v. Mike Ballard in Dalston, the room was an irregular shape entered by going upstairs and down stairs and under half height barriers, think something like a children’s bouncy ball den but marginally more sinister. The second was The All Of Everything, a celebration of the life and demise of the University of The Arts, London which was the last show in the space before it was knocked down to make way for the new Cross London line.

Unlike the those two Ballard rooms, this one is likely to last. Check out upstairs at the Macbeth Public House, Hoxton Street, London. Ongoing!