Interview: Carline Coon - With Her Consent

In my quest to learn more about the punk music and the punk movement, I came across Caroline Coon and was intrigued with finding out her thoughts... In addition to her website, you can also view her art work at Saatchi online.

As someone who has recently begun to understand the punk movement, I'd love to know from someone who was on the inside - What is punk to you?

Punk cannot be understood out of context of what preceded it, the 1960's countercultural movement of hippie Peace and Love psychedelia. By 1975 the corporate conservative media was saying, falsely, that the hippie permissive revolution had failed. In 1975 most teenagers not only believed what the tabloids said about hippies, they were also angry about their own impoverished circumstances. In reaction to Peace and Love they created the 'anarchism' of Hate and War. Instead of psychedelic music they crated the low-tech, stripped back speedy sound that I labeled 'Punk rock'. To me, the punk movement was the voice of the 1970's generation of engaged, creative teenagers.

How did you find yourself managing The Clash?

In 1979 the manager who helped create The Clash was exhausted. The Clash told me that they were breaking up. They were about to cancel their first USA Tour. To me The Clash breaking up would have been a disaster, utterly unnecessary and a tragic waste of superb talent. Further, The Dammed had broken up. The Sex Pistols had broken up. If The Clash broke up too, my well publicised theses that Punk rock would be the definitive sound of a generation would prove to be false. I said to The Clash that they absolutely must continue and that if their manager couldn't continue managing them then I would. And I did.

The music of The Clash was refreshingly political and gave the everyman a voice. As a woman, do you feel that your voice was represented as well and how?

In fact, the Punk generations' story could be told entirely through the voices of the women musicians. The most powerful political revolution of all time is Women's Liberation and in the 1970's most of the women musicians were influenced in one way or another by feminism. In the 1970's there was an explosion of women into the male-dominated rock space. See: Zillah Minx's film 'She's A Punk Rocker' and Dr Helen Reddington's book ‘The Lost Women of Rock Music: Female Musicians of the Punk Era’. In the 1970's the rock press was sexist and women's contribution to rock culture was derided when it was not ignored. There has been much great writing on how women have fought to be included in rock music's cannon and the critical mass of women in Punk Rock made a huge difference. We should be eternally grateful to musicians like Zillah Ashworth - bass Rubella Ballet, Gaye Black - The Adverts, Gina Birch - The Raincoats, Jenny Bellestar - The Bellestars, Maeve Bayton - Mistakes, Sue Bradley - fiddle Reward System, Rhoda Dakar - Bodysnatchers, Ana Da Silva - The Raincoats, Heather de Lyon - drummer The Objects and Devil's Dyke, Karen Grey - Gymslips and The Renees, Kate Hayes - The Objects, Rachel Lovell - Dollymixtures, Lora Logic - Essential Logic, Suzanne Long - bass The Reptiles, June Miles-Kingston - drums The Modettes and Fun Boy Three, Ellie Medeiros - Stinky Toys, Liz Naylor - keyboards Gay Animals, Shirley O'Longhlin - The Raincoats, Tessa Pollit - bass The Slits, Heather Smith - The Dollymixtures, Poly Styrene - XRay Specks, Penelope Tobin, Jane Woodgate - Modettes, Enid Williams - bass Girls School, Pauline Black - The Selecter, Vi Subversa - Poison Girls, Sara Furse - No Man's Band, Mufti Berridge - drummer No Man's Band.

You were and I hear still are an activist. What influenced/influences you to not just be politically aware, but also to jump in and effect change?

It is obvious to me that the huge advantages I have as an individual in our enlightened, democratic society have been hard won. Everything I cherish in life was fought for by brave people who actually died for my human rights to freedom, free speech, equality, the vote.... This freedom cannot be taken for granted. There are people who would take all our freedoms away, given the chance. I believe that with human rights come duties and responsibility. The most important of our duties and responsibilities is our obligation to oppose reactionary authoritarianism and ensure that we preserve our human rights. It just takes everyone to do their bit. All our little bits of political activity, be they serious or fun, count!

I read on your site that you are campaigning to legalize currently illegal drugs. What led you to this conclusion and why do you think this is a more effective solution to the current drug problem?

My consciousness was raised about drugs when in 1966 a friend of mine was sent to prison for being in possession of a small about of cannabis. Prohibition is no solution to the drug 'problem'. Most people do not have a problem with moderate, pleasurable use of drugs. For the minority of people who do have a drug problem it should be a health issue not a criminal matter. Even when presently illegal drugs are brought within the law in a system of licensing and control, it will be illegal for children (those under the age of 18) to take drugs. All of us, whether we use drugs or not, should be concerned about the damage that the failed War of Drugs is doing to our society.

I love that your art has strong feminist and socio-political themes. What in your life compelled you to explore these subjects in your paintings?

Just the other day, on BBC Radio 4, a woman said 'there has never been a great woman artist.' She attempted to justify this outrageous ignorant and sexist statement by asserting that women are less capable of creating art than men. Incredibly, no one on the programme challenged her statement - they seemed to accept what she said. Misogyny and sexism are still 'in' our lives and in society. It it important, I think, to paint what I know - which is why there is a strong feminist thread through my work. As a viewer, a gazer at works of art, I love paintings which have socio-political themes! As a creator, I love making Art for Art's sake and I love doing purely decorative work. But mostly I love making art that argues and challenges and confronts and embroils itself with the issues of our time, our joys and tears.

I find myself to be a procrastinator when it comes to sitting down and doing collage/mixed media. Do you ever struggle with inertia - especially since one of your paintings can take up to 6 months to complete?

Oh, I understand! But, a certain amount of procrastination is good! Procrastination can be a valuable time of clarifying your ideas. Then again, if procrastination leads to doing nothing then that is a problem. Artists have to have the courage to do - they have to have the courage to fail. Sometimes the desire to be brilliant and a success can be very destructive. What does it matter if what you do is not brilliant or successful? They only way to get brilliant and successful - or at least, to do the very best work you can do - is to do a lot, fail a lot and learn to do better with experience and practice! It used to be a tradition for all young artists to copy great works of art. Paradoxically, in copying a great artist you can find your own style. I don't struggle with inertia exactly - maybe because I view my inertia time, or inactive time, as preparation for action. Sometimes I have struggled with depression and despair - and I have learned that the best way to live through periods of such darkness is to do something very basic like drawing. While I am painting one of my 'big' pictures I have others things on the go, too. I keep a note book full of notes and sketches for future work. This ensures that I am never short of ideas.

What brings you comfort and joy?

Aside from gooey cakes and an appreciative glance from someone I love? Well, while there are really terrible things happening on Earth, and it is necessary do everything within our means to reduce pain and destruction, what gives me comfort and joy are all the wonderful aspects of life. I do not let a day pass without giving thanks for all the amazing things we humans have created.

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Interview: jill-of-all-trades

I just spoke with Jill Bliss of Blissen, a wonderful smorgasbord of recycled items made in a collaborative effort of designers and producers. Her opinions of art and nature are both insightful and inspiring.

As someone who grew up in the city and was far removed from the knowledge of where food and products come from, I'm always interested in people who have grown up with that perspective. What advantages or disadvantages do you feel your childhood has given you?

growing up on a farm, i got to experience the entire cycle of life, and the deep commitment every component within the cycle must have in order for everything to function properly. at the same time, the experience also taught me to remain flexible and optimistic, to remember that every situation, good or bad, is temporary.

for example, you can lovingly tend to a crop for the whole growing season, and then one storm can come and destroy all your hard work for the year. it's not your fault, nor the plants' fault, but you have to find a way to survive it and go on with the belief that next year's crop will be better.

my upbringing can actually be a real disadvantage when dealing with others. many people who grew up in cities or suburbs don't seem to experience life in this same way. i'm constantly surprised and sometimes disappointed with others' lack of commitment or follow-through, dishonesty, and falsely competitive situations. at the same time, others can find me overly optimistic, naive, and easy to take advantage of.

Did you always know that you wanted to be an artist? If not, how did you find this path?
i always knew i wanted to be an artist, but was discouraged by a lot of people around me not to pursue it. most of my life has been about coming to terms with who i really am, and not letting others talk me out of it!

How is your appreciation for handcrafted things reflected in your everyday life?

whenever i need something my first instinct is to make it myself. if i don't have the supplies or knowledge on how to make the thing i need, i'll find someone else who does and pay them or barter with them. it's a farmer's mentality. and i'm a big proponent of supporting others who make handcrafted things. we gotta stick together and help each other out!

We all make different choices concerning the environment as to how much or how little we want to contribute. How did you come to the decision to make your products recyclable?
for me, it was a natural progression from making things from the materials i had on hand. now that i sell larger quantities of things it makes more sense to use "new" materials, but these new materials should also be recycled or sustainable. and i strive to make just enough items to satisfy demand. making too many items, even from recycled materials, is also wasteful.

You have quite a few projects going on (product design, website design, art in galleries), how do you manage to keep so many balls in the air?

working is pretty much all i do, but thankfully i love my work!

What brings you comfort and joy?

long walks or hikes, especially in the woods or along the coastline. tea. toast. curry.

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Interview: Shirking's Not An Option!

Today's interview is with the wonderful handmade dollmaker (Munecas), Cozbi Cabrera.

“I was going to a lot of antique shows. The dolls I saw were often gross stereotypes, not made in love. I’d leave there feeling really dejected. I decided to make the sort of dolls I wanted to see... dolls with an aspect of grace, beauty and character.” (quote and images courtesy of Cozbi.com)

What dreams/hopes did you have for yourself as a child?

There's a audio recording of my father interviewing his four children, and when my turn came (I must have been 6 yrs old) , I spoke my name in a really shaky voice and stated that I wanted to be an artist. Some years later I thought it'd be great if I could be a doctor and (shhh!) a hairdresser as well!

As a person of color and a doll lover, I understand how difficult and even hurtful it can be to find not just dolls but images of us that are loving and show appreciation. When you were a child, were there images you became aware of that influenced who you are today?
I would imagine the first images that influenced me were my parents. They wanted the best for their children and were willing to sacrifice their immediate wants for our long-term benefits. They were willing to invest. They were honest and hardworking and believed that doing the right thing was more important than having a inventory of impressive objects. My mother's specific message was shirking's not an option! Do everything to the best of your ability. Put yourself into your choice of work and assigned tasks.

Sidney Poiter's images also influenced me as a child. His best, no matter how dire the situation, always shaped the outcome.

What made you decide to change your career from art director to doll making andhow difficult was it for you to make the switch?
With my love of designing and love of typography, I never imagined I'd stop art directing. But I felt something else was calling me, that I had to be challenged and to test my mettle. I needed to find my way without corporate sponsorship -- to create something that was an uncompromised expression. I had no idea what it would look like, but I was willing to journey. I don't recommend that sort of leap of faith for everybody -- some people absolutely must know where their next meal is coming from! But that initial uncertainty was the very thing I needed to start. It's what got me praying, it quickened my senses, caused me to look for answers with intent, kept me disciplined and inspired me to organize myself to deliver. Getting to market was the most challenging aspect for me. My conditioning was to deflect compliments and now I was being called upon to sell! So I made the most stunning dolls I could muster and put them out with a hope they'd sell themselves.

Starting a business in New York can be daunting, what fears did you have and how did you overcome them?
I didn't necessarily think of New York as daunting. I did think while vacationing, wouldn't it be great to set up my business on this mountaintop overlooking the sea? But I every time I return to New York from another city or country, my pulse quickens with anticipation. Every nation, language and culture is represented in NY. It's teeming with resources, ideas, and inspiration. It's the starting a business that can be daunting. But it's also an exciting opportunity to create something. To put your mind, hands and heart to something. To cultivate. I think the fear comes when we question will be able to survive while we're setting things up. It's been helpful for me to write down my concerns and list various options and solutions to pressing matters. It allows me to prioritize and get out of the circular, non-productive thinking patterns that show up with fear. It's also helpful to have someone with which you can bounce ideas so you're not entirely in your head.

How did you turn your idea to make dolls into action and then success?
I got started. My made my first doll. Then I made a second, third, etc. I began to refine them and never stopped refining. I showed them around. When people started to buy them at work, I thought, um, maybe I have something. I put together a plan -- very limited and not very sophisticated, i.e.the lemonade stand business model -- because I didn't know what I was doing. I'd never done it before, so it was full of assumptions and holes, but I was on my way and I kept refining that plan and haven't stopped refining. I followed my mother's early advice to do everything to the best of my ability, to put myself into my choice of work and I prayed for guidance and direction and doors opened up. Since then I've developed a line of clothing for women and children that sells at our retail shop in Brooklyn, NY. The response has been tremendous.

You've gone back to your first love of drawing by illustrating 2 books. How did you become involved with Greenwillow Books?
I was doing a show in New York with the dolls. I'm sure I was standing quietly behind my display or something, but Virginia Duncan, then senior editor at Greenwillow was taken by the dolls and wanted to know if I might be interested in illustrating a book. She promised to send the manuscript for me to review. It showed up the very next day. I think she was thinking I would illustrate through textiles, embroidery, etc. I turned them in as paintings. They invited me to illustrate a second book (Thanks A Million) and since then I've illustrated two books that for Random House and Houghton Mifflin that are due out in '08.

What brings you comfort and joy?
Expressing love to my family and ever growing circle of friends, through the work I do, to the people I encounter brings me comfort and joy.

One last thing for comfort and joy! My weekly walk in the woods...

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