stephen anthony davids: not conforming to a tribe

Interview: Christopher George

Establishing oneself in the arts is a daunting practice. But when class and ethnicity are part of the equation, it takes tenacity as well as a lot of talent to consider a position in such a competitive and ruthless industry. 
SoEdited’s Christopher George, exclusively interviews Stephen Anthony Davids, prior to his solo Mayfair show, after following his career for several years, we were extremely excited to eventually gain access to this aloof character on the art scene. 

SO:
Your style is bold, simple, punctuated and extremely distinctive. What would you say about your style of painting. 

SAD:
My style has developed over many years, but it has its roots in illustration and calligraphy. My bold line is a direct extension of my psychological state. In terms of my style of painting, it is immediate, controlled, slapstick, frenetic, impulsive and intentional. 

SO:
What are the difficulties you have found being a black male artist, in what can be a very white male dominated industry.

SAD:
Where do I begin? The art world is underpinned by class as much as by race.  As a self taught artist the difficulties I experience are widespread, predominantly from not having come through the elite art school system- for example Slade, Goldsmiths, Chelsea etc. Whereas people love my work when they see it, I have found on many occasions a wariness to me, or my authenticity. 

Race can be the obvious factor. However my class and the preconceptions of me regarding this are huge contributing factors. I allow the quality of my work and presentation to dispel the frowns, or in some cases disbelief that I produced the work. I do not conform to a tribe, and this has caused difficulties. I am my own person, and by being so comes with it an element of being an outsider. 

SO:
You have been a working artist for many years. What positive changes have you witnessed, and what negatives, if any have risen to the surface? 

SAD:
Positive changes are that I am seeing more black people attending art fairs as well as showing work at at them. There will always be the underlying vibe of feeling unwelcome when attending a private view in Mayfair for example. This is life to anyone who has stepped outside their normal confines of their postcode. 
Unconscious bias will always be part of the many hurdles to jump; Whereby early on in my career I would become angry, I am more wiser now in how I deal with it. 
This factor now drives me. 

SO:
The written word often comes into your work. Where do these statement come from, and is writing a part of your life in general?

SAD:
I listen to music a lot in the studio, and sometimes a line of a song that I am listening to may find its way onto the drawing or painting. I also watch a lot of documentaries about history and I cross reference information that I may hear by writing it down in a notebook. 
As one of the heads of a special school for 4 years, I was always attending meetings and note taking. I need to write things down, things that need to be done, things I have seen. Some of these observations may then end up in a painting or drawing. 

SO:
How would you describe your general emotions and state of mind?

SAD:
I am deep. I am a thinker. I am reflective. I am resilient. And I am very passionate.

SO:
Mental health is a big topic, and thank god a very much open conversation these days. Men especially struggle with mental health due to the lack of openness regarding their own difficulties with communication and the perception of men. What advice would you give to our readers about coping with issues of the mind?

SAD:
Mental Health issues are very normal. I have worked in Adolescent Mental Health for many years, working with young people with behaviour orders etc. 
Mental Health is a big topic, but the issue of being able to have an open dialogue regarding personal Mental Health is still very difficult. 

Masculinity in the 21century has many constraints and pressures. Statistics show that Mental Health affecting men is huge. Through my work in the education system I am alarmed to what degree Mental Health in young people is on the rise. But seeing the pressures young men are faced with today, it's quite understandable.
 
A key to promoting positive Mental Health is to have effective communication with others, and surrounding yourself with people who are not about to judge you. 
Also, owning your differences, and educating yourself regarding your own behaviour, this information can be key. Understanding what your triggers are, and what are the cause of these triggers. Knowing one's own Mental Health issues are key to positive personal growth. 

SO:
Your studio is in East London. On a basis of your working time at the studio, is this a structured day or is it quite casual, and do you have a social element to your work space, or are you more comfortable being isolated?

What is the soundtrack to your studio generally?

SAD:
My studio is on the cusp of the canal in the Olympic Park and it overlooks the canal, so I see the water whenever I arrive.  It a haven for me. A studio day would begin around 10.00am ( depending on my mood ) I do have a routine. 15 minutes reflection in my space. I switch on LBC Radio pending on the vibe, or I listen to one of my many House music tapes dating back to 1987. There is one tape I have on ‘repeat’ that is 90 minutes of orgasmic mixing and tunes that elevate me back to an era long passed.  I love House Music, it’s in my DNA. 

Isolation is therapeutic. I have no problem being on my own. As long as I have materials and music then I am inspired and I can create.


SO: 
What advice would you give to young artists from diverse backgrounds?

SAD:
Celebrate your uniqueness, and the generation you come from. There are issues of race no doubt, but that shouldn't hold you back from kicking down the doors!! 
The art of African people has inspired artists for centuries, it has a deep soul. My advice is to find your own voice, whatever that is. As a black man of Jamaican parents and raised in East London, I have been inspired by my surroundings, my heritage, the experience and observations of my life. This has informed my practice, and it resonates through my work. 

SO:
Your works have a playful visuality to them, but your underlying message is one of a political nature. Can you elaborate on the political message you comment on

SAD:
I do not have a specific political message, I comment on what I see. My work in part is autobiographical, therefore the work I produce is based on experiences, observations and personal interest. Blackness is a theme that is consistent throughout my work. However there are a lot of historical references in the material I produce. I am often exploring the role of a black-man in Georgian London, as well as men regardless of their colour in Urban London. The work of the boxers is an exploration of masculinity and pride, and is often a narrative I work from.  

I communicate visually with underlying message in my works. If this encourages you to think, laugh and question, then my job is done. 

SO:
What’s the film that has most influenced you as a person?

SAD:
Boyz in the Hood – I remember seeing this is a young man and thinking ‘wow’!

SO:
Favourite five songs?

SAD:
1. Love is the message - MFSB
2. Love Hangover – Diana Ross
3. James Brown – Payback
4. Maze – Twilight
5. Total – Can’t you see.

SO:
Favourite place to find some space?

SAD:
Dungeness – KENT.

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Exhibition details  
508 Gallery
Kings Road
Chelsea,
London 

Show runs from 30th May until 8th June 2019.