Lucian Freud at The National Portrait Gallery

I have always felt a very special connection to The art of Lucian Freud. I discovered it by accident on the same holiday, as an 11 yr old, as I sat reading the Biography of Leigh Bowery.

It was the 1st time I'd really learnt about most things - Cottaging, Night Clubs, Michael Clarke, Performance Art, Taboo, Minty & Smashing. Little did I know I was about to embark on my own artistic journey with some of Bowery's greatest collaborators; Matthew Glamorre, Richard Torry & Les Child.

I've been lucky, living in London to have witnessed quite a few presentations of Lucian Freud's work. However, this recent retrospective at The National Portrait Gallery contains some rare & late works by Freud.

It also contains two incredible rooms; 1 dedicated to Performance Artist, Leigh Bowery & the other to his nightclub cohort Sue Tilley.

The gargantuan paintings of Leigh Bowery are a reminder of his omnipotent presence & influence on Art Culture. The size of the paintings also serve as a powerful reminder that these were life changing events for both painter & sitter.

'He was still in a sense performing because of his physical awareness which was extraordinary.'

Freud commented on Bowery's 'remarkable intelligence,' while Bowery returned the compliment by describing his sittings being, 'like receiving a university education.'

The room curated with the 'Big Sue,' series aka Sue Tilley was a chance to realise Freud's occupation with Human Flesh in all it's glory. I wasn't thinking about the infamous prices one received at auction but how the mass of flesh looked almost like abstract sculpture.

Pulp at Brixton Academy

Pulp's recent gigs at the Brixton Academy proved absolutely glorious to hear the hits again. It was also touching to experience the crowd chant the lyrics in unison. Jarvis was irrepressible & threw even more impressive moves. A bit like the geography teacher at the school disco after a few sambucca's.

There was a fan letter read out on stage, a Mexican flag passed up to Jarvis & even an onstage spat between Cocker & Mark Webber which was, luckily, masked by some very bad front of house sound.

Pulp were one of the 1st bands I really fell in love with as a kid. 'Common People,' was the first 7" I bought, even though I had very little grasp over the song's political & defiant meaning.
I even discovered Performance Art legends, Minty, on a BBC documentary called 'No Sleep to Sheffield,' who were supporting Pulp on tour at the time.
I was later adopted by Minty & ran away to join the Avant Garde Circus….But that's another story altogether.

The song that had a renewed impact on me was 'Mis-Shapes,' which stormed the charts at No.1

The lyrics to 'Mis-shapes,' have been definitive of my life & to many of my friends. It's universal message transcends race, class, gender & sexuality in a unique way that I've yet to hear rival in another pop song.

I did feel a tear coming on during the lyrics, 'There won't be fighting in the streets, revenge is gonna be so sweet.'

Off course with the recent London riots in August 2011, there's been no escaping the fighting on the streets. The roots of the riots are complex but in the moment they seemed to be an act of blind rage, & hell bent on total destruction.
Instead of fighting for individuality & change, the looting seemed symbolic of a society that's gone mad to conform through consumer goods.

I mention all this because too many pop songs these days focus on brandishing labels & faux lifestyles, that a song like 'Mis-Shapes,' actively contradicts.

Since Pulp were in their hey-day, the worlds of music & communication have been totally revolutionised. Even the world of celebrity, which Pulp seemed to be a one time casualty of, has morphed into another more blood thirsty beast. The times have changed but the sincerity & beauty of Pulp's songs still remains intact. And very close to my heart.