Alice interviews Bob
AB: DIY in art practice means different things to different people. How do you define the term?
BM: It is a label and I instinctively dislike labels. I think for some people it is a genuine calling, a real belief that making art on your own terms is good, that selling it or even having it seen by a lot of people really doesn’t matter. Doing it is the important thing. In that sense it is closely tied to another label ‘Outsider Art’. But, a lot of young designers and illustrators seem to jump on the ‘DIY’ bandwagon, adopt a ‘rough’ style or fabricate the look of work in order to have some of that supposed ‘kudos’ that goes with being poor or from outside of the mainstream art education system. I hate that. They’re the first to sell it to a tee-shirt company. They think they’re poor because they can barely keep up with their credit card repayments for weighty arty purchases. They take all the honesty out of true DIY art.
AB: How do you distinguish between your roles as artist and curator?
BM: When I’m an artist, another label I dislike, I’m making work. Or having an idea for some work. Curating is arranging stuff from other people in a space, hoping that it shows their work in the best way and doesn’t expose you as a cock. I see both as very immediate and visual but backed up with a solid amount of knowledge and thought. Being involved in curation doesn’t leave you with a good opinion of other artists. I don’t think it is a case of two different roles; when I’m curating I’m working for someone else, often people I’ve never met.
AB: What was your first art collaboration?
BM: I’m not sure when I became an ‘artist’ and that makes it hard to pinpoint my first collaboration. I think I’ve always had the art thing going on but never had to attach a label or any significance to it until I entered the art education system. So, that would make it my foundation course, back in 1990; I started the ‘Museum Dedicated to the Enhancement of Green and Red’ and invited other students to contribute work that was red or green or red and green. I have a book of photographs of the best contributions.
AB: What do you think the main advantages and pitfalls of DIY practice can be?
BM: There is no pitfall to following your desire to make work. Ego is the biggest problem. The only advantage is if people believe your bullshit and start paying you to be a ‘bit of rough’.
AB: Artists’ opinions of public arts funding can often be complex and seemingly contradictory. What’s your stance on the subject?
BM: It is more of an unfortunate gait. Erm, fund the big things that benefit lots of people, especially those who are not ‘artists’, like galleries and museums but do not give money to individual artists. If you can’t afford your project, don’t do it. Don’t ask for money. Work within your means. Sell stuff. Get a proper job. If it needs £5000 to realise your ‘vision’ it is probably a short-sighted one. Go to Specsavers. Either that or make ‘being an artist’ a state funded occupation.
AB: We both live in West Yorkshire and are prolific in the region as well as working nationally and internationally. Do you think West Yorkshire is home to any particular approach, commonalities and/or abundance of DIY practice?
BM: Nah, not really. We’re Northern, so better that most people. And funnier. And sexier.
AB: And finally, the obligatory plugs. What else are you currently working on?
BM: http://aliceandbobcurate.wordpress.com/ And, I am trying to bring contemporary art to Knaresborough. And I am hoping that I will be making some decent paintings in the next six months.
