The S Sense of Eine

Everything Starts Somewhere

StolenSpace Gallery

17 Osborn St, London E1 6TD 

25th October – 18th November 2018

Break out the bunting, a typopgraphy typhoon has struck London, it’s an Eine exhibition.



Back in 2007 EINE had a solo show at Kemistry Gallery, late of Charlotte Rd, and the power of seeing EINE’s typography migrate indoors from the streets where we were used to seeing them was intense.


EINE - Kemistry, 2007


EINE's latest StolenSpace show delivers that visual punch in the eyes again, something that has perhaps not been so apparent in some EINE shows and events in the intervening years.




The show title Everything Starts Somewhere hints at origins, starts and basically East London represents ground zero for Eine’s graffiti.


Call Eine



2007



Cans Festival, Leake St, 2006



Scary S (check Graffoto, 2007)



Shutter S (there have been loads)



Fucks Sake, another Shutter S



S for the Stella Dore door, also S for Steph


Most of the art is on canvas rendered in tried and trusted Eine colours and fonts. There are however some intriguing new developments, perhaps this is a “somewhere” where something is starting. Most obviously, a huge sculptural 3D letter ‘S’ dominates the second room.




Although they are hanging on a wall, 4 glossy panels making out the word SEXY have the solid tangibility of a sculpture, "carved high density polyurethane" says the label.


Sexy (detail)


In the early years the prints and canvasses to collect were the whole alphabet squares though EINE decided that trying to fit 26 letters into a square format didn't look right so he famously dropped the letter W. This photo is taken from the 2009 World Record 77 colour screenprint launched under the Nelly Duff imprint. There is no alphabet canvas or print in this latest show but the letter W will come up later.


W free zone, Nelly Duff pop-up at D.S. Coachworks, Shacklewell St, 2009


The Kemistry show was definitely the start of something for Eine.  Two sides of the Kemistry Gallery were hung with cement based stencils and the stencil on cement canvas makes an appearance in this latest show.


I Stand Here For All The Right Reasons (detail)


EINE has also played with geometric patterns applied in matt and gloss to give illusions of varying depths and textures, something he has done before.


Why Waste Tears On Someone Who Makes You Cry (detail)


“Modern Art” with all its colours and glitter brings to mind a line from the ever quotable Mr Eine in a talk at his Lights Of Soho exhibition in 2017 when he declared street art “Fucks pop art backwards!”


who needs captions?


S Backwards


Other than the show blurb mysterious stating that it started with an S, there was not much obvious evidence of where the “somewhere” was that things started, EINE graciously agreed to face a series of naff questions which posed the classic Pulp interrogative "Do you remember the first time?"  

Graffoto: Where and when did you first tag?

Eine: I would have been around about the age of 14 and I am now 48 so around 1984, 85, 86 was when I found graffiti.

Graffoto: You’re 48? ("horror" eyebrows hover above forehead)

EINE: I know, it’s a fucking joke, it’s like years and years of drug and alcohol abuse have preserved me, I look younger than my children.


Graffoto: What was your first tag?

EINE: So the letter S was my first ever tag, I destroyed London with that, like literally killed London. So everything started with an S. Everybody else had a tag and if you had a wall full of tags you couldn’t see them or read them. I had a symbol and my symbol would stand out on a wall of tags you couldn’t read, which is why I had this:


EINE S throwie made flesh


I had just been arrested and was on bail for graffiti and, because I am not a complete idiot, whilst I was on bail I wasn’t going to do graffiti. My friend C__, an old graffiti writer from WD, Drax' [and friends'] crew, had just stated tattooing so I went round to his house and he tattooed my tag on his arm and that was my first ever tattoo.


Graffoto: When were you first chased by guards or police

EINE: God knows, definitely before I was doing graffiti. The first time I got arrested for graffiti was probably 1989, 90…I had definitely been chased a lot doing graffiti before that and the reason I got into graffiti was I was good at running away and I had a vague interest in art and it seemed like a great hobby. And I couldn’t break dance….


"SEXY" detail


Graffoto: When did you first think it was art rather than graffiti

EINE: When I started doing street art. There was a period when the graffiti I was doing was beautiful but it was illegal and it was on the side of trains, the moment I started doing street art it was something that was productive rather than negative. And that’s the fundamental difference between graffiti and street art, I believe.

Graffoto: When did your first work appear hung on a wall rather than tagged on a wall

EINE: I did a group show with D*Face when he opened up his gallery in Paddington, I was in that. There was probably a couple of things that I was in. It was a fucking long and painful period, I was doing graffiti I had a job, I hated my job, I used to work for Lloyds of London. I left Lloyds of London, I wanted to be creative, I didn’t go to art school, I couldn’t use a computer so I was kind of making teeshirts and selling them in Japan, I was working in a bar, I was working on a building site, I was making stickers and I was making stencils so there was loads of things going on and then it was like suddenly “Oh my God, now I’m an artist – great!”. It was just like walking around Shoreditch when Shoreditch was like a fucking ghost town, with great big poles and sticking up hand made stencil posters on sides of buildings up high, so yeah it was like this really slow process.


Supreme (detail)


When I first started doing this it was like..nobody was buying it but I was making it so I would give it to people cos I was always under the impression that I would rather have my art hanging somewhere than me painting over it. Anyway, we were going to Atlantis (art supplies shop, then in Whitechapel) and stealing everything, so that didn’t bother me…make a painting and give it away. I have always been of the belief that everything you make is a little advert for you so hopefully if you have loads of these little paintings hanging in people’s houses one day someone is going to go “Where did you get that from, I’m going to go and BUY one”. And it kind of worked to some degree. The first paintings I remember selling were from the show at Kemistry which was my first proper show in London. I had definitely done shows before then, group shows and I had definitely sold stuff but that was my first show.


EINE Kemistry Show, 2007


Graffoto: When did you first become a full time artist

EINE: When I left Pictures On Walls.  I left Lloyds and I worked on a building site and I worked at the Dragon Bar [seminal Shoreditch hangout for graffiti writers and street artists: RIP] for about 10 years and I haven’t had a job since I left Pictures On Walls..I’m shit with fucking dates but yeah I was still at Pictures On Walls when I had the Kemistry show cos I made all the concrete paintings outside Pictures On Walls [then located where Nobu Shoreditch stands today, had a convenient concrete apron outside] on a Saturday, so for 10 years being an artist has been my only job.


Love Will Tear Us Apart (detail)


Graffoto: When did you first make a mark abroad?

EINE: The first place I painted abroad was Amsterdam. I had a friend called Dreph, we were in the same crew together, who went to Amsterdam and he came back and said “yo! They stopped buffing the Metros in Amsterdam.”  I literally went to my boss and told him “I’m taking 2 weeks holiday”. I had no money just got 2 mates, went to Amsterdam for 2 weeks, we slept in parks, stole everything and spent 2 weeks painting trains, all day and all night and fucked Amsterdam metro [chuckles]. I was still at Lloyds…eighty…… god knows when that was, a long time ago!

Graffoto: When did you do your first sculpture

EINE: Oooooooo – I made some sculptures with Martin Root, the cubes that we showed in Tokyo. They were probably the first sculpture-esquy things I did. I did two sculptures with Flourescent Smog, an E and a W and then I did this massive S at StolenSpace. I would kind of like my street art to become a bit more sculptural and less “painty”. Paint fades, sculptures stand the test of time. And it’s about doing other things.


Graffoto: Why did it start with the letter S?

EINE: So, for quite a while I’ve wanted to do a sculpture and to me S is the sexiest letter, it’s one of the more challenging letters and if you get it right it just goes “ahhhhhhh”. So I had the opportunity to make a big letter sculpture for this show so decision was to do the letter S. And the gallery is called StolenSpace


Through the S Hole


Graffoto: When did you design your first piece of clothing?

EINE: When I started to break away from graffiti I was doing stickers and hand made posters and flyposting posters around Shoreditch and this Japanese dude saw my posters and he was like “Do you want to do some of those on teeshirts?” and I was like “Sweet!”.

I was a kid in London, I was always going out to nightclubs, I was interested in fashion, I like clothes you know, representing something, I like the way you can dress in a certain look and portray a certain attitude or image, I like fucking with people’s stereotypes, you know face tattoos and dressed like a skinhead and you’re the first person to give up your seat on the tube!

Graffoto: When did you first design a handbag?

EINE: I have never designed a handbag [chuckles], I was approached by a posh handbag lady called Anya Hindmarch, she had done a tote bag and on the front it said “I’m not a plastic bag” and it fucking blew up and went mental for her. Then the next time she wanted to redesign the tote bag she approached me and I did 4 different designs for her. Anya Hindmarch was very good friends with…Samantha Cameron.. [this led to Prime Minster David Cameron giving Obahma an Eine canvas as a pressie, Graffoto scooped the world on that story back in 2010, covered in detail HERE]


TWENTYFIRSTCENTURYCITY (photo nicked from Eine’s website)

I painted the outside of Anya Hindmarch’s windows to launch the bag.


EINE v. Anya Hindmarch


Graffoto: When did you design your first bunting?

EINE: [chuckles] I haven’t! At StolenSpace you walk into the backspace of the gallery and its beautiful and it has these fucking beams and it has this crazy roof but every show that you have ever been to at StolenSpace always looks exactly the same, nobody ever does anything with the roof and I was like “Let’s get some bunting made, find someone that makes bunting”. So they sent me over the graphics for the bunting and I’m like “I’ll just stick a letter on all of it”, they said “what colours?” and I’m like “choose the colours from the canvas”.

I was so close to fucking the W off, just cos I started designing the letters to go on the bunting and my letters were all like circular and spinning round, rotating to fit them on and I was going to sack the W, W is THE most annoying letter in the world but the graphic designer managed to do it, it works, they did a better job than I would have done.



You know, either you get a load of helium filled balloons and I think Fanakapan has nailed that or, now, I’ve got the bunting, no one else can do bunting!


Graffoto: What was your first gig?

EINE: The first gig I can remember, definitely not my first gig, would have been the Town and Country Club (now The Forum, Kentish Town) with The Beastie Boys with License To Ill. Me and my friend Michael were huge Beastie Boy fans, every time Beastie Boys played in London we’d get tickets to see them twice, cos we’d get so fucked one night like literally, in the queue going up to Brixton Academy double tying our shoelaces cos we are crowd surfing at Beastie Boys. Me and my friend Michael we did every Beastie Boy album whole car top to bottom on the side of trains, photos no one has ever ever seen. Yeah, we were massive Beastie Boy fans, then Wu Tang, then blah blah blah.


Graffoto: (Its a rule, when " Blah blah blah" starts, the interview has run its course!!) "Cheers and thanks"


To summarize, this show recaptures some of the raw and brutal impact which familiarity with EINE’s studio art may have lessened in recent years. Some shows roll out mere evolution but the sculptural developments suggest a possibility of revolution, definitely this show marks a progression. Don’t miss, runs till 18th.




For shits 'n giggles Graffoto focussed on the letter S in the photos in this post, here are some of the full canvasses the S details were lifted from.


Sexy, 2018



I Stand Here For All The Right Reasons



Why Waste Tears On Someone Who Makes You Cry



Love Will Tear Us Apart



Love Will Keep Us Together



Its the Little Things That Hurt



Supreme Sympathy



Sexy; Love



Its the Little Things That Hurt

LINKS

EINE Instagram
StolenSpace website
All photos Dave Stuart (instagram)

xEnso - Xenz' Nelly Duff Show

Xenz

2nd - 8th November 2018

Nelly Duff Gallery

156 Columbia Road

London E2 7RG

If there is a niche for graffiti writers who paint exquisite, delicate nature pieces with a dash of fantasy landscape thrown in then a huge chunk gets filled by Hull’s finest escapee, Xenz.


Meeting Of Styles 2009



Cans Festival II, Leake St 2008



Bristol 2006 (photo 2009)


Xenz has a new solo show at scene stalwart gallery and publisher Nelly Duff.





The Golden Branch


Duffers and Dufferettes, as the gallery likes to calls its fans, will be well aware that Nelly Duff has an extraordinary knack for a lush piece of art so when Xenz casts his beadies over the eye candy hanging on the ground floor he figured that going circular would be one way to stand out among the rectangular wall fillers, now we know the circumstance of the circumference in this impressive collection.




Elegance is a word that sits very comfortably in a description of a Xenz painting though the graffiti writer always lurks among the branches, literally. As a graffiti writer the letterform must reign paramount and outdoors Xenz produces stunning landscape paintings with his name cunningly disguised within the branches and trees.


Xenz, Busk,(both written in the rock formations!) Hackney Wick 2011




Meeting of Styles 2019 (this young man was just entranced by Xenz'z mural, beautiful to see)


The painting in the show may look a million miles from any graffiti aesthetic but look closely, again the letters are subtly secreted inside the lines of the flora. Illustrated by "mouseover" on the next image - best viewed on desktop or laptop rather than mobiles or tablets




The circular paintings were inspired by the zen buddist ensō symbol, ensō circles capture a concept of fulfilment, calm, strength and most particularly, elegance and enlightenment.



A collection of beautiful watery paintings on handmade paper discs roughly a foot in diameter were painted in a very gestural manner; simple colours , dots, lines and drips were applied and left as they fell, no corrections, no smoothing of curves or sharpening of edges and a sense of grace and flow in the finished article is clear.


Sketches From The Valleys Of The Shadows





Graffiti writers love to show off their skill versatility and wit by writing alternative spellings of their monikers and Xenz was quick to spot that if you corrupt the label ensō by simply adding an x in front, you have almost got Xenz’z name ready made in there. It deserves a new form for the possessive.


Xenz'z



Xenz'z too


Xenz’z interior art has often featured wispy forest fronds and filaments frequented by flying fauna. The colourful birds flitting through the branches and hovering in front of soft petals are based on humming birds. This goes back to an occasion when Xenz was enjoying some traditional hospitality high up a Jamaican mountain when a long tailed humming bird flitted out of the forest canopy to perch on his finger like it owned it. A few magical seconds and some herb imprinted the experience in Xenz’z mind and thence into his art.


Turquoise Dreams



Humming Bird detail





Nelly Duff’s upstairs lounges is a homely snug, embodied in the slightly stained and battered looking lintels over the fireplaces. Xenz happened to notice some circular coffee cup stains and that triggered his ensō reflex, so he added some beautiful birds. There’s nothing quite as naughty as a little tagging indoors.





Gold cutting in



Flutter


All round, Xenz has produced a wheelie great show, well worth a spin. (sorry about that!)

"Round" of applause for this man please

LINKS:

Xenz website

Nelly Duff Gallery website

all photos: Dave Stuart (instagram)

Dscreet Top 40 Covers

BSMT Space (see photo below)
5D STOKE NEWINGTON ROAD
LONDON N16 8BH

In December 2008 a parliament, for that is what a group of owls is called, assembled in the famous Pure Evil Gallery cellar for a solo show by Dscreet. Graffoto raved about Dscreet’s solo show in that famous cellar and indeed a pair of Owls has adorned NoLions Towers ever since.



Words Up - 2008


Ten Years After we flock to BSMT Space, again a cellar, for Dscreet’s first London gig - sorry, show since then. Titled Top 40 Covers, Dscreet presented his painted homages to a variety of musical highlights in a show staged as a music gig and BSMT rocked that night!


drunk girls


That opening Thursday was special for Dscreet on several levels; he appears to be One Hundred Years old and evidently has immense wisdom like his owls but opening night was DScreet’s 40th birthday. The choice of 40 as the key number in the show title will resonate with ancient music fans from the pre digital era for whom everything came to a Grinding Halt at 6pm on Sunday evenings as the Top 40 rundown aired on Radio 1. Claire Grogan was probably not available but a suitable rock ambience was brought to the venue by Brick Lane street musician Lewis Floyd Henry, opening for Dscreet.

Sadly the “phone in the crowd” recording makes this sound crap which completely undersells how hard this dude rocked but there was a lot of rocking going on that night.


Lewis Floyd Henry - Live at BSMT Space


Lewis also has old school pedigree as a proper graff writer, that's the kind of attention to detail DScreet has put into this show.


Rockin All Over The World


Dscreet owls have perched on East London’s walls for years, normally Graffoto likes to pick a few pellets from the archives just to revel in the history and development of the subject artist out on the streets but with Dscreet did Too Much Too Young making such a selection an invidious task.


Dubl Owl, Howl Owl, Owl and Pussycat (2015)


Of course, not to forget some Brilliant Compositions


Sweet Toof, Cyclops, Dscreet 2007



Cyclops, Sweet Toof, Dscreet, Kid Acne, Seks (TRP), also feat Toasters & Snoe (TRP) (photo 2008)


As his owls are so popular, the fact that Dscreet is a phenomenal graffiti writer is perhaps a little bit overlooked. The owls and the graffiti both featured in this combative collab with Conor Harrington, we loved the blood spurting everywhere and note also the musical reference in the tribute to Adam "MCA" Yauch of Beastie Boys.


Dscreet v. Conor Harrington, feat RIP MCA (2012)



Dscreeeeeet (2009)



Dscreet (2008)


Although there is a neat link between age 40/top 40 for this gig, the theme isn’t a contrivance for the benefit of a show, musical references have featured frequently in Dscreet’s street art. The tribute to Lou Reed based on the Velvet Underground lyrics to I’ll be Your Mirror is cemented on a Shoreditch wall with a pair of mirror image owls, in the gallery the same song is executed on an actual mirror.


I’ll Be Your Mirror – Top 40 Covers 2018



I’ll Be Your Mirror/RIP Lou Reed (2013)


Similarly Dscreet has covered The Doors on the streets and in the show.


An American Prayer – The Doors



Break On Through – The Doors (2015)


In recent months a demonic character has appeared in DScreet’s street art, generally the character, believed to be the artist’s alter ego, is up to no good, some kind of Devil In Disguise.


Identified nutters: Dscreet, Pez, Nylon, (2018)


This demonic character appears in one of the shows highlight, the DScreet visual rendition of the Bob Marley tune Time Will Tell. Bob Marley has also featured in DScreet’s street art, Marley’s classic Three Little Birds become three lurid owls.


Time Will Tell - Bob Marley



Three Little Birds (2014)


The troublemaker is conjuring flames from the palm of his hands in the unmistakable Firestarter while Dscreet's friend and fellow writer Nylon makes an collaborative contribution.


Firestarter - The Prodigy - Dscreet & Nylon


BSMT’s cellar space terminates in a pair of vaulted cells which lend themselves to something installational, DScreet blacks out the space and illuminates his characters with a phosphorescent glow evoking that thrill when auditorium lights go down and faint shadows stir indicating stars hefting guitars and adjusting codpieces, that point in a gig where anticipation ends and sonic delivery commences.  Mouseover this pic to see the effect.



Ceremony – Joy Division (guitar) c/w Reign In Blood - Slayer *Mouseover image*


The sexual murmurings on Aphex Twins’ “Windowlicker” translate on canvas into a curiously tilted owl, or at least that’s how it seemed at first glance until longer scrutiny revealed the secret duality in the image, perhaps I have had too sheltered an upbringing as it did take quite a while.


Windowlicker - Aphex Twin


Talking Heads’ cinematic rock gig film Stop Making Sense (34 years ago? Really???) begins with lead singer David Byrne strolling onto an empty stage with just a guitar and a beatbox, things can hardly get more rock ‘n roll and it’s not a million miles from how Lewis Floyd Henry rocked BSMT. Hanging on the wall is a lone guitar, painted black with the lyrics to Psycho Killer penned on it.


Psycho Killer - Talking Heads


Mother Sky by Can refers to a droning throb of krautrock sustained by a plodding riff and drug addled lyrics, neatly captured on canvas by an unending psychedelic flow of vaporous digits streaming out of a can, madness I say (as did Can).


Mother Sky - Can (collab with Eoin)


These owls may have the serious stares of classical music geeks but their spiky hair do screams punk and they don’t get much more OG punk than The Clash.


Guns Of Brixton (The Clash)


In a list of greatest hits it takes some doing to stand out but among the candidate gig highlights was Dscreet's imagining of Black Sabbath’s Planet Caravan. The Sabb have of course featured in Dscreet’s street art in his interpretation of Symptom Of The Universe.


Planet Caravan - Black Sabbath



Symptom Of The Universe - Black Sabbath (2012)


It was like spotting an old friend to spy an owl from the Words Up show perched in the BSMT Space rafters, which bring us right back where we started from.



Top 40 Covers, BSMT 2018 - also feat The Look Of Love, I'll Be Your Mirror & Heart Of Glass



Words Up, Pure Evil Gallery (2008)


The history of rock is often forged in grimy downstairs locations, think of the Cavern in Liverpool, the 100 Club in London. Dscreet’s opening was as much an event as it was the beginning of an exhibition of some painted art.  The show must go on (until 1st November). The blues that rocked BSMT Space’s subterranean cellar that night didn’t make anyone homesick.




Lewis Floyd Henry rocks BSMT


Links:
Dscreet Facebook
Floyd Lewis Henry website - check that out baby!
BSMT Space website

All photos/phone videos by Dave Stuart

As there is scarcely a more secretive hard to find gallery in London, this pic shows the door into the basement trumpeted by a Dscreet A-board