Words: Lizzie Beck. Pictures: Tatenda Mikey and Hatton’s Yard.
Where I live in St Leonards it is well established that there are as many art galleries as there are coffee shops. Which is actually pretty impressive for a small town. But why is this worth mentioning? Because in six years I’ve been in every one of those cafes, and to date not one of those galleries. Why?
I’m scared of art. Well to clarify,I love art but am scared of being watched loving art. Particularly if the artist is the only other person there. I don’t want to speak, to be questioned on the subject matter (what if I get it wrong, the whole town finds out and I end up in stocks?) and most importantly I won’t/can’t spend hundreds of pounds on a piece. Thus I would feel a fraud as soon as I walked into a gallery. A shop. A creative space that sells its wares. Promising hope of a sale merely by jangling the door as I enter, when really I need an hour alone with a painting before I can even say if I like it. And even then I can’t afford what is undoubtedly a fair price, I just don’t have the cash.
Another question: is it fair to enter any establishment purely to stare at the goods? Or is it only ok if it’s art? And if so why?
I’m often contradicted on this, but I do feel there is still an elitist superior attitude radiating from ‘the art world’. Perhaps that’s why I took to Banksy so readily: painting by numbers, meaning spelled out, free to all (oh how times have changed Mx B). And most importantly I didn’t have to speak to them. Or in this particular case even know who they were, never mind where they studied.
So I have my own conflict – I love art but am scared of the artist and the mysterious circles they move in. And so it was when I last-minute joined some locals making Christmas decorations in (the impossible to speak highly enough of) Hattons Yard just around the corner from my flat.
I walked into an onslaught of smells, hot vegan soup and homemade bread, the amplified voices of excited children and the most stunning and thought-provoking art on the wall.
Hattons Yard is a genuine oasis in this town worthy of more words that will undoubtedly follow soon. Presided over by the impressive, forward-thinking and all round wonderful Dawn Dublin, it is already a work of art even with its leaky roof.
It could not have been a more relaxed and discreet way to view creative work. So much so I didn’t realise I was standing transfixed by the pieces on the walls, pulling myself slowly from one to the next, until I’d absorbed them all. The effort, the meaning, the choices the artist had made – I wanted to know more while understanding all the answers were right in front of me, and none were wrong. I have neither stared so much or stayed in one spot for that length of time, ever. I had accidentally experienced a gallery.
I shared some of these thoughts with the gentleman next to me. He smiled. He was of course the artist Tatenda Mikey.
He wasn’t elitist, superior, judgemental or scary. He appeared genuinely pleased that people were interested in him and his work and we talked like two people mutually and equally enjoying his art. As we continued we discussed the wonder found in the finished product, how so much fulfilment was to be found in the journey while knowing the end result was ultimately something so much more than ever planned.
Hattons Yard welcomes diversity and inclusivity, Tatenda Mikey’s work does the same by highlighting differences, acknowledging them as fact, at times confronting, at others celebratory. Differences that reveal inherent prejudices. A version of the standard eye test, instantly recognisable, on closer study spells the worst racist terms we all know, but only some live with. Shocking, painful, true. And I’m partial to a bit of ‘slap round your face’ truth. That double-take quickly followed by acknowledgement of its reality. A familiar and public image holds within it a truth not public enough. And the exquisite inference of ‘you need your eyes testing’ is beyond clever. Look, then look harder. And then think. Really think.
Moving around the room there are portraits of unknown-to-us subjects, superimposed photography revealing inner thoughts, memories and places of individual importance. Again begging questions that we don’t need answered, what is in front of us is enough.
And one, a beautiful portrait of a beautiful woman. In fact so beautiful that all you can do is stare wordlessly. No questions needed.
Some time later I interviewed Mikey about himself and his work. He began by explaining some of his personal story as well as the influences on this particular collection.
“I’m originally from a small town called Southerton in Harare, Zimbabwe. I grew up there up until the age of 15 when I moved to St Leonards, where I have lived most of my life besides in London for university.
“I was blessed and inspired by great people I met when I was young. From great uncles who encouraged me to keep practicing, to watching the occasional cartoons, anime and movies like Pokemon, Power Rangers and Dragonball Z and drawing animals from the encyclopedia. Each curiosity and ‘maybe try this’ from an elder helped fuse an action to cope with silence into something I now enjoyed.
“Besides the ones I mentioned, my inspiration came mostly from my family. My father gave me the pencil and papers to explore my desires, my sister gave me the challenge as she too was an artist, but more than that, it was my mother. She had moved away from home to support the family and I never knew her or remembered her face, only from pictures. So in poetic irony, it became an act to connect with myself and her even though she was far away.”
I asked Mikey if there was a particular inspiration for this latest collection.
“The title of my recent work is ‘Persistent Faith’ and it’s a conversation through painting of exploring the spirit of humanity that holds on to hope/faith in spite of the trials and tribulations we face in being or choosing to be true, faithful and anchored in love rather than just alive.
“Besides my faith through the Bible, it was also fused by books I’ve read such as The Creative Act: A Way of Being and many others that helped at least etch how the human spirit still strives on the waters of life – be it swimming, floating or even walking on them – but still knowing it’s ok to feel all of the emotions during the journey and also rest, as long as we keep the hope and faith in ourselves and in others.”
During our conversation Mikey had mentioned he’d had a difficult time recently, and I asked if he would mind explaining and expanding on that:
“Yes, it has been quite a difficult year, I won’t lie. I can’t take away that this year has had an effect on many in their own ways, but it was a challenge as I had to face my ‘Why’ to my art and goals/desires and reason for life.
“I lost a lot of friends to suicide, my faith dwindled due to that and the need to make money. I almost gave up my desires for my art due to this. Plus the worry of AI, work and the fixation of making a living/legacy for my family that invested in me. All of that worry left me quite…depressed.I won’t lie.”
Do you worry about the effect of AI on the arts?
“I am worried I won’t lie, more so for others besides myself. When it was first introduced, most of my clients stopped asking me for commissions which made the desire to make art even that more difficult – hence why I felt dejected by it.
“But in a twist of fate, it’s allowed me to go back to Level 0 of being a curious student with the pencil and paint and illustrate just for me and my experiences. It’s allowed me to be more transparent with why I started.
“It can be a tool to some degree (emphasis on some), but to absolve the desire and responsibility to create – which I feel is a God given right – is wrong. I think once people decide to go back to the roots of why they make art or why we love what we do, and do it from the heART, mistakes, errors, joys and all – rather than perfection, it will encourage many of the population to appreciate the human touch rather than the programs.
How did your difficult times affect you personally and as an artist going forward?
“This season affected me quite deeply as I had to ask, know and believe why I loved making art. Not just to make it into a career or inspire others, which are still my desires, but to go back to that childlike wonder and to accompany it with the wisdom that age provides over time, and to never forget that clarity.
“Considering that I’m in my late 20s, I wanted to set a north star to shine regardless of the changes of the world or how old I get.
“It was through going back to my faith in God and also honesty with myself, transparently and with care, just as much with truth, that led to a pruning that was painful and difficult to understand at the time, but 11 months later, I can see it deepened my trust, love and anchor for hope in myself, my craft and others.
“So in turn, all the good and bad ended up being, by grace, a source/palette of my greatest joy and strength – as I could use these experiences to make work that relates to people who may feel the same, and encourage hope and faith even in the storm, just as I did.”
How would you want people to be affected by your work?
“More than anything, I’d most like to impart hope, faith, curiosity and presence, for people to find within themselves and others, and what the work reveals about them, be it good or bad. For it is all human which is what I think we need to come back to – the integral and beautiful privilege to be human and sharing it with others.”
And finally how do you feel about this collection:
“Considering the scope of my collection, I’m…grateful. Experimenting, expressing and now exploring the depths of who I am, especially with where I am now, it’s been a heartfelt journey – thanks to those who have planted their hope in me over the past 15 years here.”
And with that my fear evaporated to be replaced with my first reaction, admiration and appreciation. It’s an honour to hear anyone’s story, to have it depicted in front of you and to both see and understand the depths of the artist and the art is something special. The venue and the price tag don’t matter. It might still be scary walking into a gallery, but chances are it will be worth it.
Tatenda Mikey was displaying his collection at Black Butterfly, Hattons Yard, St Leonards on Sea. He can be found across the web and on socials @tatenda.mikey.