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Son of the Soil

Son of the Soil


Words Kirk Truman

Portraits Etienne Gilfillan


It wasn’t about money, it wasn’t about fame, it wasn’t about greed. I did it because I did what I did…”

Jean-Michel Basquiat, Roy Lichtenstein, Edward Hopper, Andy Warhol, Jeff Koons; New York City lays claim to many of the greatest artists in recent history. Catching my eye from across the pond, a certain artist first came to my attention as the renown Banksy of New York City. Amongst the names of these iconic NY artists that I refer to, street artist Bradley Therodore is a name to watch, with the potential to join a list of the greats. Famed for his murals throughout his home city, Bradley’s latest has come to find itself closer to my own home, making his debut here in London on Fitzrovia’s Little Portland Street.

Bradley was born in Turks & Caicos, an island group east of Cuba. Today he resides in Brooklyn, New York City, where he has integrated himself in the art scene, with a dedicated to making his art accessible for all to see. With his work having rapidly taken off, remarkably Theodore only started to paint in his distinct style about 3 years ago with his background in digital art, consultancy and experimentation with graffiti in the 90’s. “When I started painting, I felt that the world at the time was an ugly place. It was so full of processed art. Everybody at the time was trying to be Banksy, the amount of Banksy ripoffs was sickening. So, I wanted to do something that would clash with that. What makes your creativity special when everyone is doing the same and everything is so manufactured?” he says. “I felt no control. I was like, fuck this! I wanted to create something that I could control; I felt that art was something that I could control. I could control the look of it, I could control the when, where and how of it, you know? If you look at New York 3 years ago, everything was black and white. The city responded. Today, its covered in colours, experimentation and new ideas. If any any top artist puts something up, it gets covered. Its called tagging. In New York, I’m the only artist whose work doesn’t get covered up. In New York, I’m hot. I’m literally the Banksy of New York… but I don’t shove it in peoples faces.”

Painting in his signature bright colours, Theodore creates work that fuses fashion, music, technology, popular culture and street art, predominantly painting in the streets of New York and Los Angeles. In his paintings and murals, he has come to depict the likes of Anna Wintour and Karl Lagerfeld, David Bowie, Kate Moss and Cara Delevinge, having also produced art in the music industry for Def Jam, Universal Records and Sony, and many other media. With his work heavily US based, he came to forge a friendship with the founder of PR and Communications agency Exposure, Raoul Shah, via their New York office (The Supermarket), whom introduced Theodore to London’s art scene. “It was actually really random… we met at a party about 10 years ago. The Exposure office was amazing, the brands they represent are fucking amazing and so advanced” he says. “I had developed a relationship with the Exposure team for years, and in the past year Raoul and I ran into each other at an event. We were trying to plant to do something together. I came to London, where he introduced me to the curator of Maddox Gallery, James Nicholls, which was still under construction. I liked their vibe. The thing about galleries is museums and galleries are totally different; museums they welcome you, galleries try to treat you like you can’t afford the art. Thats a really bad thing, even if you can’t afford the art. You don’t want somebody to treat you in a certain way just because they think you have money. Maddox Gallery don’t do that. They’re really positive, they give everybody the time that they deserve.”

Having been introduced to James Nicholls at Maddox Gallery, Bradley came to be represented by the gallery, with his work first being on display at the gallery late last year in December. Early this year, Bradley and the gallery were beginning to prepare for his first ever solo show ‘Son of the Soil’ which ran April to June. “I would not sell my work to anyone, and I mean anyone. I’d had people offer me whatever I’d ask for, and I still wouldn’t sell my work. A lot of the pieces in that show, I wouldn’t ordinarily have parted with, but I had to because it was my first show. I chose to take work off my walls from my home back in Brooklyn for the first time. It was definitely hard for me” he says. “It wasn’t about money, it wasn’t about fame, it wasn’t about greed. I did it because I did what I did… art takes time and emotion, in art every stroke is special. I didn’t give a fuck about money, I’d chosen to start a career that’d probably make me poor. I quit everything to do my work and felt that I didn’t want to fit into a system of greed, the money system. I didn’t paint to get rich, I didn’t paint to get money, I painted because I wanted to prove a point.”

Shortly after the opening of ‘Son of the Soil’ at Maddox Gallery, Raoul and Bradley discussed the possibility of his first mural here in London. Bradley and Raoul cited the wall outside of the Exposure London office on Little Portland Street as a great location, which became his first mural in London, painting it late April earlier this year. “I love Raoul and the Exposure office in Fitzrovia. The idea of the mural outside the Exposure office came about from me wanting to make drinks for the Exposure team which turned into me painting my first London mural. It was a great location, a great wall and a great thing to do” he says. “New Yorker’s don’t like to waste time, you either say you do or you don’t want to do something, and I wanted to do it. There were a couple of gigs that people were trying to give to me in London, though Exposure does everything very straight, so it became my first. Painting at a location for me is worth more than money. Exposure has a culture of creativity, you know? Its a place where they’re nice to their employees, people like working there. Corporate assholes are running the world, and Exposure follows the true street culture of London. Street culture crosses from New York, to Tokyo and London. Exposure symbolises all of that to me, and suddenly I had an opportunity to paint on its doorstep. Thats kinda cool, don’t you think?”

Embodying Karl Lagerfeld and Anna Wintour surrounded by butterflies, Theordore’s Fitzrovia mural marks his passion for the area, Exposure and his friendship with Raoul Shah, painted in his bright signature colours. Bradley is now across the pond back in Brooklyn, though his heart is never far from London. He is now experimenting with new possibilities with his work, and even mentioned the possibility of creating 3-D printed frames for his work for future exhibitions. Theodore is humble, well-styled and known for his signature dreadlocks. He lives and breathes his work, with much of his clothing showing some remnants of the signature colours used in his work, dripped onto the garments. He’s an artist to watch, compared to the likes of Jean-Michel Basquiat, for his unmistakable style with many high profile collectors acquiring his work.

India Rose James

India Rose James


Words Kirk Truman

Portraits Sandra Vijandi


“…the way in which my grandfather sought to push boundaries are now obsolete; they’re no longer provocative. I want to continue his avant-garde legacy through the arts.”

We owe much assumption to age. The older we grow, the weaker we are regarded; whereas the young are assigned wild clichés of unproductiveness, disorganisation and impracticality. Though I cannot thoroughly assure you that this young lady is wholly a Venus, there is no denying that age is no measure of assurance, guarantee or reliability. With a heritage almost like no other here in Soho, the remarkable 23 year old India Rose James is riddled with the charm and experimental nature of her grandfather, with an undeniable affection for her neighbourhood and a fleet of ambitions her age is sure not to halt.

There is no denying India’s youthfulness, though she is by no means uncaring or typecast for her age. Her beauty, the pink-tinge to her lengthy blonde hair is captivating and her height startling, it is no wonder she has found herself modelling for minimalist streetwear brand Goodhood, and a line of swimwear by Sorapol. It is easy to note that India is as ambitious and courageous as all young women, though equally it is difficult to distract oneself from the unimaginable privilege of her life which still has neither acted as obstacle nor distraction from her youth or ambitions: a youth that, despite its privileges, has also seen tragedy with the untimely death of her mother when India was just 9 months old.

Whereas the reputable Paul Raymond began his career applying his talents to showcasing sexual entertainment throughout Soho’s clubs and creating a chain of top-shelf publications, India has re-fashioned his legacy via the arts as a gallerist staying true to her family heritage in entertainment, pushing the limits and making ideas a reality. “I think people realise that the times have changed, and the way in which my grandfather sought to push boundaries are now obsolete; they’re no longer provocative. I want to continue his avant-garde legacy through the arts,” she tells me.

After Raymond’s passing in 2008, his legacy was handed down to India and her half-sister, Fawn. With Fawn and her father John James operating Soho Estates (the company which helms Raymond’s Soho property empire), India’s dream to turn her long-term passion for the arts into a career has been realised in the form of a business venture, the newly opened Soho Revue Gallery: a joint project between India and Will Pelham. India’s motive for starting the gallery is neither strictly for it as a business venture nor passion as a project, but from an underlying want to support young talent, and keep the ideological spirit of Soho itself alive. “I’d always been interested in the arts and, specifically, in Soho’s place within an artistic conversation. The area has always had a strong counter-cultural imperative, but young artists ran the risk of losing ground to the cultural establishment. I wanted to give the best in young talent a platform to share their ideas; to allow non-establishment artists an establishment space. It’s so important to me to keep the vigour and dynamism within Soho’s artistic practice,” she professes.

Its title, a nod to the now diminished Raymond Revuebar, being a reminder of Soho’s heritage; the gallery based on Greek street has been well received by the Soho neighbourhood. India is keen to work with the people of the area in helping to promote and protect the culture and identity of Soho as a whole, not to mention support young artists in their careers. “The response has been fantastic. It’s rare that people respond negatively to any sort of cultural injection within an area. However, because our raison d’etre is to support artists at the beginning of their careers, we’ve garnered even more good will. Everyone pops in to say ‘hi’; there’s a real sense of community spirit in the area. We’re always keen to get involved in any projects that promote Soho, particularly as a cultural destination. The aim of the gallery is to help to keep the arts in Soho fresh and sustainable. I think we’re fulfilling that role.” She says on the gallery.

It is easy to forget that India owns much of the Soho we know and admire. I was surprised, for instance, to find out that she’s not only the youngest owner of a Howard Hodgkin piece, but numerous other pieces of art. It is safe to assume that her desire for collecting art rivals that of her grandfather’s, who sought to collect properties.

Her grandfather’s legacy is one India is sure to not only continue, but redefine in Soho’s years to come. Not only by helping to promote the neighbourhood as a cultural destination, but in its preservation – playing a significant role in the reopening of Madame JoJo’s. Though, running the gallery is currently the primary focus. “My grandfather’s legacy was one of having fun and pushing boundaries. This is exactly the legacy that we want to continue within the Soho Revue. I think it’s important to maintain focus and not to get ahead of myself. Right now, my only thought is to promoting the careers of the artists that the gallery represents. It’s too new a venture to allow myself to get distracted by other plans. I have to give the Soho Revue all of my attention.” Her home and her playground, India insists she plans to remain in Soho for the long run. Soho has indeed found its queen.