Tuesday, 15 March 2016

Camper SS16: Pandemonia

Pandemonia appearing in the latest Camper advertising campaign.

Prints, Posters and Video.

The campaign is global reaching both North and Southern hemispheres.
Pandemonia represents Kobarah shoe.

Mallorca By Camper

Art Direction: Romain Kremer
Photography and Video: Daniel Sannwald
Styling: Anna Trevelyan
Set Design: Gary Card
Music: James Kelly

Monday, 8 September 2014

TAINT Magazine

TAINT: the intersection between art and politics

number one: the gender issue

summer 2014




Purchase your copy from http://taintmag.bigcartel.com/

Please could you start by telling us a little bit about what you do.

I am a Fine Artist. The role of the artist is a unique position – one that can illuminate and affect society. As part of my artistic production I created a celebrity. I constructed her out of signs and symbols that point to modern day myths. By exhibiting my celebrity “Pandemonia” at events such as fashion shows, product launches and art openings, my image and ideas have spread virally through the media. Pandemonia is an artistic intervention.

So did you ever expect Pandemonia to slip so successfully into the 'front row'

At fashion shows there is a strict hierarchy which dictates who sits where. I had no idea how the 'powers that be would react. When I arrived, the press photographers, the audience and security spontaneously began performing 'Pandemonia'. Pandemonia was photographed by the press pack and placed centre front row.

You've talked before about how Pandemonia allowed you to take your work from the gallery and to exhibit directly within society. Why might this be an important transition for art to make?

My work is about our culture, so I took it directly to the people and into the everyday so as to create a discourse. Going outside the boundaries of the art system has opened it up to more possibilities. It has blurred the lines of illusion ans reality.

If the work was originally exhibited in a gallery it would be labelled and contained. Presenting it in its current format has caused a lot of confusion and kept it alive, It instigates questions rather than completeness. It is a form of détournement.

Technology is changing us. To make the work current it seemed to me to be important to use social media.

I chose to use the celebrity motif partly because people relate to celebrity and because celebrities are 'cross platform'; they translate well through all media platforms.

The work operates on the plain of myth. Myths, identities and ideas of normalcy are perpetuated and reinforced through adverts and the media. I wanted my work placed in situ amongst these. My images now get carried by the very same media, it's been shown in top glossy magazines and television around the world.

"By placing alternate images in the mainstream media an artist can attempt to reveal and affect the mechanisms of how things work."

My celebrity functions differently from the traditional celebrity. If you decode her she is more like a Trojan Horse. Being carried by the mass media allows the work to form an internal critique.

As the wok gets more established I can see it re-entering and working in the gallery setting.

Do you feel that Pandemonia has been received and appreciated as an artwork?

That really depends on the viewer. My work is democratic in the sense that it appeals to all sorts of people and that it allows them to make up their own minds about it. I think it is good to fall in between definitions, finding t5he cracks is one way to reveal something new.

The democratic appeal of Pandemonia is something I found initially interesting about the work. Where contemporary art can often be conceptually elitist, Pandemonia appeals to masses as something else entirely. The very same media who did not recognise Tracy Emin's bed as an artwork appear to have welcomed and promoted Pandemonia as a celebrity.

That is how a Trojan Horse works, it appears as one thing but inside it is something else. Our 'guardians' – those who choose what to report – accepted Pandemonia with open arms. I wanted the work to get good exposure because it relates to what is going on in culture now, not to just the select few. When I constructed Pandemonia I was thinking of semiotics. The signifier and the signified., An equation where the viewer fills in the blanks.

Any advertiser knows that media space is at a premium and that blondes are especially popular with the media. It was a question of realising the moment. SO I fed the media back their own imagery. I made a point of keeping away from exhibiting in the gallery. I showed Pandemonia in non elitist places where it would give the press an easy narrative to write around. She is the perfect blank canvas to hang stories off of.

You touched on the possibility of the work returning to as gallery context. Is this something which may happen soon?

I have various projects in the pipeline. The context, or 'framing', is crucial to how the work is perceived. The work needs to function beyond the walls of the gallery.

Pandemonia takes an obviously female form. Do you conciser this a reflection on the way in which the media expects women to aesthetically please?

Yes and no. For me that is too simplistic an interpretation. Pandemonia is an allegory. I chose to make her female because in advertising the Female is the emblem of our market society. The myths and aspirations of our times are played across her body. Her image is the most effective advertising device known to mankind. Her image sells. Both men and women like to look at her.

I liked what you said about market society; this fe-male-inspired emblem does seem to be used relentlessly, and to advertise such a vast quantity of products. Pandemonia has responded well to this idea, but do you see any way that we, as a society, can move towards this not being the case?

It's a symptom of the capitalist cycle. Advertising functions to create demand where there is none. Demand needs to be created to pay debt, Debt is the driving force behind money creation.

Myth and Image are the motivators behind our desires. By placing alternate images in the mainstream media an artist can attempt to reveal and affect the mechanisms of how things work.


Monday, 7 July 2014

Automatic Art. GV Art

Automatic Art: human and machine processes that make art

4-26 July 2014
GV art,
49 Chiltern Street
London W1U 6LY

It had been a sweltering hot day at home for Pandemonia and Snowy, by 7pm the temperature had dropped and they both felt the need to go out. After flicking through their PV invites and they settled for the London Art and Science gallery GV_Art

At the gallery Pandemonia and Snowy were greeted by GV owner Robert Devcic.
Robert briefed them on 50 years of Automatic Art: human and machine processes that make art, exhibition.

Then Robert whisked them downstairs, to the back gallery space, where he introduced Pandemonia and Snowy, to British Computer artist William Lathham.

Will was all fired up and engaged P&S with his interactive of Human Mutator2 Reflector in time piece of work. Both P&S were captivated by the work.

Pandemonia and Snowy moved from one playful demonstration with Will, to another by British Constructivism artist Peter Lowe.
Peter explained his transformable construction of 5 groups of 5 stainless steel tube with aluminium, an exhibit Snowy wanted to get his paws on.

But the gallery was filling up with guests and Pandemonia needed a escape the heat and find a thirst quencher, so they shifted to the bar, in the outdoor gallery court yard.

There, they encountered the new guard of Science and Art, in the comely shape of Westminster College student Robbie Anson Duncan, (who Snowy discovered Robbie has become a Westminster fashion department muse), Robbie was so taken by Pandemonia & Snowy, he asked to be snapped.

That done, another guest jumped in and asked "can I do a selfie with you" Pandemonia and Snowy obliged him.

Then Pandemonia and Snowy entered back into the gallery & cast their beady eye's over Ernest Edmonds, Four Shaped Forms, Acrylic and digital print on canvas.

Snowy, recognised fellow conceptual artist Alexander Hidalgo. Pandemonia recalled their last meeting was at Freeze Art fair when they were with their two chums Nick Rhodes and his partner Maria Suvio aka Nefer.

Pandemonia and Snowy then took to the stairs, to see ground floor exhibits.
No sooner had P&S reached the ground floor, there were mobbed by a host of fun loving art enthusiastic children, that stormed the gallery and surrounded P&S, with their mum pleading for a pix.

Being children friendly Pandemonia & Snowy consented and then were free to see artist Harold Cohen colourful "Coming Home"

Malcolm Hughes - Relief Maquette

and Nathan Cohen, "Crossing" black white and grey work.

Having seen the work Pandemonia and Snowy were given a hearty send off by Charles Gollop and Robert, who thanked P&S for coming.

As Pandemonia and Snowy waited for their cab, they were set upon by ex Vidal Sassoon master crimper Billi Currie.

Billi's own salon was next door, and tried to enticed Pandemonia in, forever the hairdresser couldn't resist checking out P hair and its superb gloss, bounce and condition.

Pandemonia politely refused, so Billi called out his team and a one of their client's joined them, to see the marvellous tresses of Pandemonia and it's creative hair style.

"My hair, is, all my own work" Pandemonia said as P&S waved everyone goodbye and piled into a taxi for cool comfort of home.

photo/copy: Stephen Mahoney

Friday, 27 June 2014


PUPMAG issue 2 Summer 2014.

15 minutes.

Photo: Romy Treebusch


"I created Pandemonia from mass media imagery, then fed her back to the very same media. She is like a modern day Trojan Horse. On the surface she is the consumerist vision in person; forever young, tall and glossy etc. Under the veneer, the work promotes discourse; a dismantling of that same image. She is an allegory for living in the 21st century and operates in the social sphere. She is democratic because it is the public that made her. There is no institution or public body behind her promoting her. People vote for her with their camera phones. Her image has spread virally around the world."


"In showbiz, identity is ones trademark. Identity is something you wear and one’s humanity is not reducible to a single identity. We wear “masks” to help navigate between public and private spaces. Oneself is more than ones job or any other isolated slice of ones identity."

Wednesday, 25 June 2014

NRC next... The modern Trojan horse

NRC next interview by Christel Don

English Google translation

I am the modern Trojan horse

She goes through life in a large latex suit / / And give her true identity / / What do accomplish this British living work of art ?

Saturday, May 17, 2014

She is more than two meters long , fully dressed in latex , often accompanied by her white inflatable dog Snowy . In England they are more than five years, a phenomenon. With its cartoonish appearance she sits front row at fashion shows , and there are few famous Britons not been in the picture with her. Slowly but surely getting the rest of the world in its sights : Pandemonia . This week is a living work of art for the first time in the Netherlands .

While the British style icon orders tea, the question arises how practical such a hot drink when you tightened is in a non - breathable suit and even talking requires effort . "I have indeed occasionally to vent . " Pandemonia have yet to comment about her identity , but the stubble around her mouth and deep voice make it unlikely that a woman hidden under the latex.

You never fail ? Talk about yourself in interviews, why
" If I reveal my identity , it creates noise. I would suddenly instance Joe Blogs are also known as Pandemonia . Then the focus shifts to my personality rather than the ideas that I want to convey. This would be much less interesting. "

What exactly do you want to say with your extravagant looks ?

"I 'm an artist . If you look at me , you will not see me , but my work . After 2000, the focus on celebrities in the media flight. Increasingly, they appeared on the front pages : stories about who they went out , kissed , or where they were spotted drunk . That fascinated me immensely and made ​​me think . What does it say about our society ? Suddenly I thought, why can not there instead of some celebrity is not a work of art at that spot in the newspaper ? A work of art that produces discussion. "

Why was that art Pandemonia ?

" Pandemonia is a catalyst that would continue to go about our culture and the way we shape our society . Dialogue people thinking Actually, as a kind of modern Trojan horse . I copy first role models , stereotypes and myths that dominate the media. Subsequently apply them in their own way and I give them back to the media . "

That sounds a bit vague . Give an example .

" For example I am blond, slightly pinkish blond moment , but a variant of blonde. The media love blondes more than brunettes . That's a stereotype . Just look at classic movie stars , who are all blond. They simply become more obvious . "

So you create an inflatable blonde hair as a sort of parody ?

" Exactly . But I use the same language as the media , I use the same stereotypes , so I then appear through the same media channels back into the picture . "

On the pictures you often find yourself with an inflatable dog . What is its function ?

" Snowy is my icebreaker. Even the most rigid people thaw when I introduce him . That again , happens every time very striking . " It is intriguing and surprising at the same time , interview someone who hides literally from head to toe in a rubber outfit seems influenced by artists such as Andy Warhol , Roy Lichtenstein and Jeff Koons . Where you normally looks for the moment someone shows something of his mask fall , that will not happen quickly at Pandemonia . Anonymity is part of what she wants to wear out. A bigger mystery is why what drives it most of the year to go as a life-sized latex doll life.

" Art in a gallery or museum has been closed. It is in a safe area . I did not hear from museums , but I avoid that context aware . I go directly to the public. "

How do you get money ?

" Sometimes I get sponsored by big brands who invite me to an event . I wear something commissioned . All I do that only if I 'm behind the brand. Furthermore, my travels generally paid by the person inviting me . Or I sell some of my art . "

How important is identity still these days ? "

" We all wear masks . Identity slips from our fingers . Think of how technology evolves . We are not the only ones who decide what happens to our identity . Facebook can be used without permission and pictures on websites can be published so information about us . "

Finally , how do you be such a stereotype ?

" Think carefully about what you read and what you consume . Images you see are always paid by someone . And the reason that someone pay for, because they sell a product . Your whole identity is built around products . Realize that and create your own history . You only live once . "


Ik ben het moderne paard van Troje

Ze gaat door het leven in een groot latex pak // En zwijgt over haar ware identiteit // Wat wil dit Britse levende kunstwerk bereiken? zaterdag 17 mei 2014

Ze is ruim twee meter lang, volledig in latex gehuld en gaat vaak vergezeld door haar witte opblaashond Snowy. In Engeland is ze al ruim vijf jaar een fenomeen. Met haar stripachtig uiterlijk zit ze front row bij grote modeshows en er zijn weinig bekende Britten níet met haar op de foto geweest. Langzaam maar zeker krijgt ook de rest van de wereld haar in het vizier: Pandemonia. Deze week is het levende kunstwerk voor het eerst in Nederland.

Terwijl het Britse stijlicoon thee bestelt, rijst de vraag hoe praktisch zo’n heet drankje is wanneer je strakgetrokken zit in een niet-ademend pak en zelfs praten moeite kost. „Ik moet er inderdaad af en toe uit om te luchten.” Pandemonia laat niks los over haar identiteit, maar de stoppels rond haar mond en de lage stem maken het onwaarschijnlijk dat er een vrouw onder het latex schuilgaat.

Je praat nooit over jezelf in interviews, waarom niet?

„Als ik mijn identiteit onthul, ontstaat er ruis. Dan zou ik opeens bijvoorbeeld Joe Block zijn, ook wel bekend als Pandemonia. Dan verschuift de aandacht naar mijn persoonlijkheid in plaats van de ideeën die ik wil uitdragen. Dat zou veel minder interessant zijn.”

Wat wil je precies zeggen met je extravagante looks?

„Ik ben kunstenaar. Als je naar mij kijkt, zie je niet mij, maar mijn werk. Na 2000 nam de aandacht voor beroemdheden in de media een vlucht. Steeds vaker verschenen ze op voorpagina’s: verhalen over met wie ze uitgingen, zoenden of waar ze dronken gesignaleerd waren. Dat boeide mij mateloos en zette me aan het denken. Wat zegt het over onze maatschappij? Opeens dacht ik, waarom kan er in plaats van zo’n beroemdheid niet een kunstwerk op die plek in de krant? Een kunstwerk dat discussie oplevert.”

Waarom werd dat kunstwerk Pandemonia?

„Pandemonia is een katalysator die mensen aan het denken wil zetten door de dialoog aan te gaan over onze cultuur en de manier waarop we onze maatschappij vormgeven. Eigenlijk als een soort modern paard van Troje. Ik kopieer in eerste instantie rolmodellen, stereotyperingen of mythes die in de media overheersen. Vervolgens pas ik ze op eigen wijze aan en geef ik ze weer terug aan de media.”

Dat klinkt een beetje vaag. Geef eens een voorbeeld.

„Ik ben bijvoorbeeld blond, een beetje rozig blond momenteel, maar een variant op blond. De media houden meer van blondines dan van brunettes. Dat is een stereotype. Kijk maar naar klassieke filmsterren, die zijn allemaal blond. Ze vallen gewoonweg meer op.”

Dus creëer jij een blond opblaaskapsel als een soort parodie?

„Precies. Maar ik gebruik wel dezelfde taal als de media, ik gebruik dezelfde stereotyperingen en daarom verschijn ik vervolgens via dezelfde mediakanalen weer in beeld.” Op foto’s sta je vaak met een opblaashond. Wat is zijn functie?

„Snowy is mijn ijsbreker. Zelfs de meest stijve mensen ontdooien als ik hem introduceer. Dat gebeurt iedere keer weer, heel frappant.” Het is intrigerend en bevreemdend tegelijk, iemand interviewen die zich letterlijk van top tot teen verbergt in een rubberen outfit die beïnvloed lijkt door kunstenaars als Andy Warhol, Roy Liechtenstein en Jeff Koons. Daar waar je normaliter zoekt naar het moment dat iemand iets van z’n masker laat vallen, zal dat bij Pandemonia niet snel gebeuren. Anonimiteit is onderdeel van wat ze uit wil dragen. Een groter mysterie is daarom wat haar drijft het grootste deel van het jaar door het leven te gaan als een levensgrote latex-pop. „Kunst in een galerie of museum is afgesloten. Het zit in een veilige ruimte. Ik heb niks tegen musea hoor, maar ik mijd die context bewust. Ik ga direct naar het publiek.” Hoe verdien je eigenlijk geld?

„Soms word ik gesponsord door grote merken die me uitnodigen voor een evenement. Dan draag ik iets in opdracht. Al doe ik dat alleen als ik achter het merk sta. Verder worden mijn reizen over het algemeen betaald door degene die me uitnodigt. Of ik verkoop wat van mijn kunst. ”

Hoe belangrijk is identiteit nog deze dagen?”

„We dragen allemaal maskers. Identiteit glipt uit onze vingers. Denk aan de manier waarop techniek zich ontwikkelt. Wij zijn niet meer de enigen die bepalen wat er met onze identiteit gebeurt. Facebook kan zonder toestemming foto’s gebruiken en op websites kan zo maar informatie over ons gepubliceerd worden.”

Tot slot, hoe voorkom je zelf zo’n stereotype te worden?

„Denk goed na over wat je leest en wat je tot je neemt. Beelden die je ziet worden altijd door iemand betaald. En de reden dat iemand er voor betaalt, is omdat ze een product verkopen. Je hele identiteit is gebouwd rond producten. Realiseer je dat en creëer je eigen geschiedenis. Je leeft maar één keer. ”