Boy George needs no introduction. A bold, colourful, provocative character, he has led a life driven by a desire to be different and to stand out. After decades spent in the music industry – like the creative (and karma) chameleon that he is – the brushes in his make-up bag have now been joined with those for paint as he embarks on a new career as an artist. His first solo exhibition is coming to Monacoβs G&M Gallery this month, so FORCE ONE caught up with him to find out more:
F.1.M. : When did you decide to pick up a paint brush and put something on paper?
B.G. : At school the only thing I ever got any praise for was art. I remember the day I was expelled and the last thing I saw was a pencil drawing that Iβd done of my sister and I remember thinking, I should take it off the wall! In terms of the way I look, my music, Iβve always incorporated my own creative ideas into everything I do. But in terms of actually physically starting to paint and putting stuff on paper, thatβs only really been in the past four-five years.
For this particular show, my first, I have been really concentrating on silk screen prints. Theyβre all about the size. I do everything by hand. I donβt trace and I donβt use computers. Itβs all freestyle. I throw away more than I keep though! But sometimes you look at a piece and it can be really simple, then it looks back at you and says βIβm doneβ.
F.1.M. : Of the pieces that you do keep, why those ones?
B.G. : Itβs whether I believe in it or not. Sometimes I end up doing somebody famous, often completely by accident. Iβm not there thinking Iβm going to draw Prince or whoever, but Iβll start the process and then Iβll suddenly think, actually, this one looks a bit like Prince! Then I start thinking about how I can make it look more like that person. Iβm always trying to evoke the spirit of the person rather than recreating an image that already exists.
A lot of my reference points are very punky. A lot of the things that I do visually are influenced by the 1970s, an insane and eclectic decade for music and ideas. And really that was my breeding ground as a kid. Thatβs where I learnt to be who I am now, I suppose. So a lot of my stuff does go back to that period of Tribalism in British fashion culture. The humour of Tribalism is a big influence in what I do as well. Itβs great fun to document different periods and just things that evoke the period and make me think a bit.
I think all creativity is about turning up. I always encourage everybody to do it because you do it, then you can decide afterwards whether you want anyone else to see it.
F.1.M. : Itβs almost as if youβre putting yourself on the canvas. Youβre bold, colourful, provocative, punkyβ¦ Is that intentional, or does that just flow from you naturally?
B.G. : I think everything you do has to have some kind of emotional connection to who you are, or how you see the world, or what things excite you. I enjoy seeing colourful people; some people have amazing faces to draw. Sometimes you look at someone and theyβre not classically beautiful in the Vogue sense, but theyβve got such a beautiful face to paint or film. A face that youβd want to write a song about. For me, I choose people and characters that are a little bit like myself, but maybe braver. I suppose to a certain extent maybe thatβs a part of me Iβd like to see more of. I have the idea that interesting people are usually quite flawed.
left:Β The Beautiful People / right:Β Yamamoto
F.1.M. : I guess this ties into one of your paintings called βThe Beautiful Peopleβ.
B.G. : That was influenced very much by Marilyn Manson, and itβs also a song. A lot of my stuff is influenced by songs. When Marilyn Manson came on the scene I found it very exciting as he was so different. There was a guy in his band called Twiggy Ramirez who had these amazing dreadlocks. When I started working on this piece I was flitting between Manson and Twiggy and it ended up more Twiggy, this mad and androgynous Goth with dreadlocks.
Iβm always looking at trying to find an attitude and some sort of movement in a picture, even though sometimes theyβre quite graphic and static. You can get the idea of something moving, or a hint of inner sarcasm in the face, a defianceβ¦
F.1.M. : A bit like another piece of yours, βFront Row Fashion Panicβ.
B.G. : Now thatβs an experience. I donβt know if youβve ever been in the front row of a fashion show, but it always comes with a lot of anxiety! Theyβre such fun things to go to. And thatβs what fascinates me about life. As a performer youβve got the stage and also the drama of whatβs going on behind it, and then what youβre doing as a performer. So itβs picking up on all those kind of aspects of human nature, like how some people – if theyβre not in the front row at the fashion show – itβs the end of the world. Iβve been one of those people!
F.1.M. : And do you have a particular favourite that youβll be showing in the G&M Gallery in Monaco?
B.G. : My favourite is probably Yamamoto because itβs so dramatic. Itβs based on a costume Bowie wore in the 70s by the Japanese designer, Yamamoto. I remember seeing it when I was 11, the first time I saw Ziggy Stardust. It left such a huge impression on me, the outfit was just so incredible. He was on stage and these two Japanese girls came running onto the stage and pulled it apart. It was like a beautiful, theatrical moment. I would say that there is also a high level of theatricality in everything that I do. Iβm a performer, I need an applause for everything!
F.1.M. : What is the process of creating these works? Do you stare at a blank canvas and have an idea of what you want to do, or do you find inspiration in the moment?
B.G. : It doesnβt flow easily for me. I have to really think about it and be in the mood. Sometimes I even do some affirmations before and say βthis is going to be great!β There is no set process. Itβs the same with writing a song; you can get a lyric from anything, and itβs also the same process with art. I might see something and then I think that Iβd like to draw it or create something based on it and then put the elements that I love together. Youβre always left with your own interpretation of something, and I think itβs really important to allow yourself to be influenced by everything that you love, but also to be influenced by things that you donβt love. Itβs all about, like I said earlier, turning up and doing the work. Itβs about taking a risk. Sometimes youβve just got to let it go and say, Iβm finished.
F.1.M. : That could sum up your career couldnβt it?
Being a bit of a risk taker!
B.G. : I think so, yeah! Although I have to say, Iβm not naturally drawn to taking risks. I think, creatively, you have to be a bit belligerent sometimes and say, this is what Iβve done no matter what someoneβs reaction to it is.
F.1.M. : And is it a risk, taking on this new challenge of putting on your first solo exhibition?
B.G. : In terms of working with Tina [Green, owner of G&M Gallery] itβs been really exciting. Iβve been discussing doing an art show for the last few years with different people, but she was the first person to really dive in and say letβs do this, and put me on the spot! So now Iβm sat here thinking, oh Iβve really got to finish these works! Itβs been very exciting the last few months. Itβs been hectic but Iβve really enjoyed it. When I see everything finally up on the wall I think itβs going to be quite an overpowering emotion.
left:Β The Man who sold the worldΒ / right:Β Prince with Body
F.1.M. : How did this collaboration with Tina come about?
B.G. : She saw some of my work and reached out. She said she liked it and so we started talking about doing something, doing a show. I was excited as artists always have to be pushed to do things, to finish things. In a fashion show, you can be there sewing on buttons at the last minute. I love artistic people and creative people and how they buzz off that panic.
F.1.M. : So is this you now, Boy George the artist, a further reinvention / evolution of yourself?
B.G. : I donβt think Iβm reinventing myself as such. Iβve always moved in between different creative elements of my life; thereβs been music and Iβve DJed and Iβve done fashion and photographyβ¦ for me itβs an extension of what Iβve always done. Through this process itβs really transformed what I do and what I want to do in the future. Itβs exciting!
F.1.M. : Do you actively take inspiration from other artists?
B.G. : Absolutely. Not consciously, though. Sometimes people say that my work reminds them of something so Iβll go off and have a look, although sometimes I donβt go and look in case my work starts to appear more like someone else’s! But then I think, the best advice Iβve ever been given is just to embrace everything. When Iβm in the music studio I listen to everything you could think of, and Iβm always referencing things that I love. So Iβll listen to some guitar from Roxy Music, or saxophone from Stevie Wonder, whatever it may be.
Weβre all an expression of things that we love. I donβt shy away from looking at other peopleβs work. I knew Keith Haring really well, I loved Keith, and I loved the way he worked, and I do something similar when I use pens, for example. But Iβm not him and his style, Iβm something else!
F.1.M. : When I first saw your works I thought there was an element of Basquiat to them, something quite primitive in your sketchiness and bold choice of colours.
B.G. : Thereβs more wildness in what he did. I went to see an exhibition of his recently and I felt the frenzy in it. My stuff is cleaner, but I do love his work and have taken some influence from what he did. I love what I love in a picture! And there are things that I love and donβt know why. Itβs the same with music. Why do I like one particular artist over another similar one who is equally good? I think itβs always about what something does to you emotionally.
left: Scarman / right:Β Come On Feel The Noize pt2
F.1.M. : Thatβs it, art is subjective. Itβs often a viewerβs emotional connection to a piece as to whether or not they like it.
B.G. : I mean, who do you listen to at the end of the day when you create something? Do you listen to the person who says youβre brave? Do you listen to the people who say youβre rubbish? Or do you just follow your own instincts? At the end of the day, like you say, it is all subjective, but it is also about taking a risk. You think, yep, Iβve done it, now it will be interesting to see peopleβs reaction to it. Thatβs exciting, that moment.
F.1.M. : If you had to pick one of your songs to listen to on repeat while painting, which would it be? Which would be your soundtrack to your new career as an artist?
B.G. : I think it would be something new, a song called β24 Hour Freak Showβ, about all the characters that Iβve known in my life. My stuff is all about people having a bit of an attitude; punky, fashiony, a little bit arty, offensive, and humorous. I think thatβs really important to me. What you do should make you smile.
F.1.M. : Which reflects back on you and your character!
B.G. : Yeah, my stuff is about freedom, freedom of expression. And, you donβt have to join in if you donβt want to!
F.1.M. : And whatβs next? A second exhibition?
B.G. : I want to see how this goes. Iβve definitely got a bug for it now. I really enjoy it. Whenever I see a blank wall now I just want one of my paintings on it!
I am also making a new album right now, so Iβm writing and producing stuff for that. If you want to check it out Iβve put a few demos on my SoundCloud. What Iβm trying to do is get people to experience my journey with the music. Obviously itβs very primitive at the moment, but it will be interesting to see what people think. People have a very different relationship with music now, itβs much more casual. Like an affair. You have to keep them constantly aroused! And I think the same applies to art when you think, oh what is he going to do next? Iβm just really excited about the whole process, the simplicity of that, and how you can turn your mistakes into something really beautiful.
Itβs really about filling the world with interesting things, colourful things, things that are provocative. Things that are humorous. Things that make you think. Thatβs one of the great things about art. Art really throws you off balance sometimes and you have to just approach it in a different way.