For a long time now The Gallery Bar (first floor) has been not much more than a pathway to the smokers terrace, and a spot for Kirstie’s stalkers and fans to skulk. We decided that it was worth much more than this, and an opportunity was being missed. A makeover was due, but this wasn’t going to be some sub-changing rooms style lame lick of paint, no this is the Macbeth, and a makeover is a chance to try something new. So with this ethos in mind we decided to bring in the unparalleled talents of renowned graffiti writer and just artist in his own right Mike Ballard. With a free reign on the space he decided to create what could be described as The Macbeths own contemporary Sistine Chapel. It really is something to behold.
To celebrate the unveiling of The Gallery Bars rebirth, we held a private view of Mikes work and the work of Art Wars, with DJs Pierre Hangover (Real Gold), Ruby Doobey, and Mellé Modé and a free BBQ followed by an after party till 1am.
In between finishing a few last touches on the Gallery and tattooing a Storm Trooper we got to sit down with Mike for a minute and I ask him about the piece and himself.
The Macbeth: Hello there Mike, how are you today.
Mike Ballard: Good, busy finishing this storm trooper.
TM: OK let’s get started. What was the inspiration for the piece?
MB: Well first off, I haven’t used animals in my designs before, and I wanted to take it further than my last piece, create a new energy. Animals incorporated with space, galaxies, the cosmos. Then there is also lots of inspiration from Rubens drawings, pop art and the Mexican pavilion for the Olympics where they painted a whole room in parallel black and white lines. Bringing it all together.
TM: What other artists do you admire? That inspire your work?
MB: Well a lot of the 60s/70s comic book artists, a lot of graffiti writers, in fact the whole graffiti movement really and then more contemporary artists like Diann Bauer and Chris Ofili. Also all the classic renaissance, baroque period painters. With someone like Caravaggio its less that my work is influenced by him, more I admire his technique, his skill. I love how over-the-top the Baroque period was, how ornate. Lots of imagery going on at one moment.
TM: So how did you get started?
MB: I started drawing from a young age, maybe 9 or 10, and then when I was about 12 I got really into heavy metal, and started drawing heavy metal band logos. Copying the album artwork of late 70s early 80s heavy metal bands like Black Sabbath, Judas Priest and White Snake, so from that I was already into drawing letters. Imitating the gothic styles of the logos and motifs. Then I was introduced to a book called Subway Art, which was a book on New York graffiti and saw that it was all about letters. These people with their own code names, and styles, so I decided not to draw anybody else’s artwork anymore and create my own fantasy alter ego, that I would paint everywhere.
TM: Apart from the Gallery Bar, you’ve done two other big installation pieces, covering the walls, ceilings and floors of expansive rooms like his all encompassing takeover of The Arts Gallery (University of the Arts). Do you prefer doing big pieces?
MB: To be honest it’s just one element of what I do. I like doing collage, which is very different because it’s using existing photographs and found footage, which I then make my own using digital imagery. I also like to make a lot of music, sound installation and video. I do love painting big though, like when painting graffiti, you’re not constrained to a piece of paper, there are less limitations.
TM: What is your position on public graffiti?
MB: The way I see it as long as pieces aren’t affecting individuals property, costing people money, like homes its fine. As far as I’m concerned the advertising industry and corporations has been imposing itself around the city, and cities all around the world for hundreds of years. Why should a company be able to push images on us when an individual can’t?
TM: Over the last decade street art has really entered the public conscience, becoming far more mainstream and maybe the idea of what it is has gotten a bit confused. You refer to yourself as a Graffiti writer, for those who wouldn’t know what is the difference?
MB: I come completely from the Graffiti world, when I started in 1986 this idea of what street art is wasn’t around. People were using stencils, it was a very punk thing at the time, but amongst the true graffiti writers fraternity, its completely seen as cheating. Its pre-planned. The defining difference is the culture that goes along with graffiti, free hand spray painted graffiti. It’s all about the letters, people might draw characters around the letters, but they are purely to attract attention.
The Gallery Bar is always open on the first floor of The Macbeth, 70 Hoxton St, be sure to come down and see it.
