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  • 5 Curious Minutes with…Danny Pallett and Charlotte Hugh

    5 Curious Minutes with…Danny Pallett and Charlotte Hugh

    Dark Horses creative team Danny Pallett and Charlotte Hugh’s admirable side hustle working with the Young Creative Council (YCC) takes them all over the country sharing advice with students who are trying to get their foot in the creative door.

    The Badass.Gal initiative, which celebrates female creatives that are going above and beyond, was launched after realising the noticeable difference between the number of young women studying creative subjects verses those working in full time employment within the creative industry.

    Here Danny and Charlotte tell us about how it all started, where it might go, and how you can help.

     

    Tell us about Badass.Gal and how it came about

    Through our work with The Young Creative Council (YCC), Charlotte and I spend a lot of time visiting universities across the country, sharing advice to creative students on how to get a foot in ad-lands’ doors. From doing this, we realised the majority of students we were speaking to were female, yet the industry we were working in day to day was lacking female talent.

    A stat from Creative Equals states that 60% of classrooms are female but when entering into the industry it drops by over half.

    So, on International Women’s Day, we set ourselves the rather ambitious challenge to shine a light on a different, young, female creative every single day for an entire year. To introduce ad-land to the incredibly talented women we were meeting across the country, and inspire the industry to not just celebrate women for one day a year, but 365 of them.

     

    How do you think the initiative is helping creative women?

    In this industry, only 12% of creative directors are women (in London), and more women are dropping out before they’ve even signed their first contract. We created Badass.Gal to celebrate the female creatives that were already going above and beyond despite their lack of ‘years experience’ and give them a platform to be recognised for the incredible work they were already doing.

    The site has now become a place to source talent, inspiration and find opportunities for collaboration. We’ve had a number of agencies and recruitment companies get in touch to say they use our platform to hire. Friends and ex-colleagues use the platform to find freelance positions, and we’ve even had Badass Gals collaborating on projects together. 

But what we have ultimately learnt from the community over the past year, is that for many young women, having a platform or a community that thinks you’re “Badass” even when you didn’t think it yourself is really valuable. It’s so important for everyone to have a cheerleader, and Badass.gal aims to support and elevate creative young women to help boost their confidence.

     

     

    What next for Badass.Gal?

    We feel that we’ve only just got started and we’re really looking forward to year two of Badass.Gal.

    We decided going forward we won’t be posting everyday but rather once a week or once every two weeks, so we still encourage people to keep nominating amazing women that they know who are out there owning it in the creative industries.

    But our main focus will be on producing value for the community. To do this we want to focus in on up-skilling our community through collaborating with brands to host talks, events and workshops.

    We’ve been very lucky to have such amazing support from Adobe and back in February we hosted our first workshop with them, and we’re pleased to say that this is the first of many.

     

     

    How can the advertising industry do better with bridging the gap between educational courses and vocational experience?

    We all have to remember that we once were knocking on those ad-land doors ourselves. Whether we went to uni or not, we’ve all felt the struggles of trying to get hired. So, the easiest and most valuable thing to do is to go and visit schools, colleges and universities and talk to the students. Inspire them, look at their work, invite them in to your office for a day to shadow you, just give up an hour a month to mentoring a young creative.

It’s so valuable for young creatives to hear from industry experts, not just their tutors. So we’d urge everyone to get in contact with their old uni, or a local uni to their office and get in front of the students. It’s as inspiring for you, as it will be for them – we promise you.

     

     

    How do you fit your work with the YCC into your daily full time careers?

    We’re very lucky to have the support from our agency, Dark Horses. They understand the importance of what Badass.Gal and the YCC does and help and support us to be able to do this.

    We also massively believe if you really care about something, you’ll find the time to do it.

     

    What made you work in advertising?

    Well that’s two different stories… Charlotte’s story started when she watch an episode of F.R.I.E.N.D.S. The one where Chandler decides to switch jobs and become a copywriter. “Cheese….it’s milk that you chew” and “grapes, because who can fit a watermelon in their mouths” were Charlotte’s first insight into copywriting, and that was it. Charlotte then found an advertising course, and joined the following September.

    And for myself, at college I loved photography and design, especially print and movie poster design. It was then suggested I should study advertising, so I did and learnt fast that advertising isn’t just creating posters!

     

     

    If you weren’t working in Advertising, what else would you be doing?

    Good question, I guess there are a few answers to this… If we didn’t work in advertising but still worked together we’d probably have to start our own company of some sort as we’ve both got a very entrepreneurial spirit.

    Charlotte: I would be a teacher. I absolutely love the work we do for the YCC. Speaking and inspiring students is super rewarding, so I think I’d love to do that every day.

    Danny: For me, I would probably be figuring out how way to travel around the world and make it pay. I love cultures and just experiencing new worlds.

     

    What’s the best piece of advice you’ve ever been given?

    Charlotte: “In order to be brave, first you have to be scared”
    Danny: “For love, not money”

     

    Who is your hero?

    Within the industry there are many people we look up to for so many reasons but picking out two of them we’d say Dave Buonaguidi for his entrepreneurial mind and his ‘get shit done’ attitude. And Pip Jamieson; She’s a badass solo female founder, who is absolutely killing it and probably one of the most inspiring people we’ve ever had the pleasure of meeting.

    Then personally we’d probably say the same thing; our parents. Because without them we wouldn’t be where we are now.

    Young Creative Council

    Badass.Gal

     

     

  • The Curious Gallery…Mark Denton

    The Curious Gallery…Mark Denton

    The Power of Puerility comes to Curious

    Last night, the Curious Gallery hosted Mark Denton’s Kickstarter campaign for his new book, ‘The Power of Puerility’.

    The great and the good of Adland came along to (hopefully) pledge some funds, have a drink (or three) and a chat (and lots of laughs).

    Here’s some pics.

     

     

     

     

     

     

     

     

     

    To find out more about the Curious Gallery, please contact zoe@curious-productions.co.uk

     

     

     

     

     

     

     

     

     

     

     

     

  • 5 Curious minutes with…Savannah Finestone

    5 Curious minutes with…Savannah Finestone

    Earlier this year, Curious Productions became a proud sponsor of the Creative Circle Foundation (CCF). Along with other key industry organisations, we collectively assist students in disadvantaged circumstances to study advertising.

    Savannah Finestone was helped by the CCF and tutored by the infamous Tony Cullingham of Watford College. She’s now completed her course, met her hero Trevor Robinson, secured a place at Mother London and is determined to make her Mum proud with her self-proclaimed weird and wacky ideas interspersed with some much missed humour.

    We had 5 Curious minutes with Savannah…

     

    How did you come across the CCF?

    When I was applying to Watford. The Foundation had the same creative test you have to complete to get an interview for Watford. So, I completed my creative test and submitted my answers to both Tony Cullingham and the Foundation. I then had further correspondence with Jeremy Green directly to find out how the Foundation could help.

     

    How has the CCF helped you?

    They funded my Watford tuition, and without them I wouldn’t have been able to attend. They’ve put on invaluable workshops with industry greats and enabled me to meet some of my advertising heroes like Trevor Robinson and Peter Souter. To be mentored by great creatives like these, is a rare opportunity.

    They have also provided myself and other students with resources like Awards annuals, Lurzer’s Archive magazines, photography books, stationary and heaps of other goodies that I would never be able to afford. All are great sources of inspiration and tools to help my creativity.

     

    During your training, who has been your influence?

    Tony Cullingham. He is a titan in this industry and has shaped me into the Creative I am today. Tough love is the name of the game but it works and you soon learn he’s got the biggest heart, really cares about the creatives he sends out into the industry and the work they make.

    Mother and Wieden & Kennedy are the agencies which produce work which is matched to my personality and creative style so they are a big influence on my work and remind me to embrace my wacky ideas and style.

    Also, Trevor Robinson who I’ve worked closely with, and have been mentored by, has been such a great influence. He gave me my first job and a spring board to jump into this industry headfirst. We are continuing to collaborate on future projects and he’s a great supporter of my ‘out-there’ ideas! Working with Trev is not work, it’s joyous! What’s not to love about chatting about wacky ideas, and delving into the truth of a big idea that has a true human connection to it?

     

    Happy Passover Porky – Savannah Finestone

     

    What do you love about Advertising?

    I get to come up with crazy ideas for a living which then becomes reality. I’ve found the perfect balance of my bananas personality, love of art, design and writing combined with problem solving. There’s no limit to creativity, and I am using my ideas to find creative solutions and make people laugh.

    I also love that advertising has the power to change behaviour and influence culture. “You’ve been tangoed!” Is a perfect example! Creatives have their ideas seen by the world, and have the chance to make a change, and with advertising I have this opportunity.

     

    Is there anything in the industry you would like to change, or anything you’d like to see more of?

    I’d definitely love to see agencies being braver and going for more humour in their approaches. I think in these difficult times people have forgotten to have fun which is what this industry is about!

    I love humour and weirdness. It’s what I aim for in all my work. John Heggarty said “fight for the stuff that doesn’t make sense”. And although I do believe logic makes creativity, when I see an advert that’s bizarre and a total assault on the senses, it’s so refreshing and a welcome break from the wallpaper! From Paul Arden’s series of abstract Silk Cut posters to all the Tango ads AND Flat Eric for Levi’s! A little yellow puppet as the guy’s best friend? Completely random but absolutely brilliant! The madness in the method!

     

    What campaign/s made you want to work in advertising?

    Water in Majorca Heineken advert. Had me in stitches, proper vintage gem of advertising. Saw it and knew this is what I need to do! Just pure simple genius!

     

    Heineken – Water in Majorca – Lowe

     

    How important do you think awards are to creatives?

    This is tricky because I’m very competitive and the thought of winning awards spurs me on to do well. I like acknowledgement of my work, maybe that’s wrong of me to seek approval for my ideas but I think that’s human nature. I was always told to seek criticism, not praise as that’s how you improve but I’m my own worst critic and super hard on myself anyway, so when someone else appreciates what I do it’s a welcome boost. However, I remind myself not to get hung up on awards and the politics behind them. It’s easy to seek peer approval, but for me it’s more important what the general public think, and about how my work affects everyday lives, changes behaviour and culture. I want people to feel moved by something that I’m passionate about and have put my heart into making. I want to make work that my Mum is proud of too, that’s a huge factor!

     

    Tell us about your art

    I make sculptures of prawns and screen prints of tentacley creatures – as you do!

    I love graphic design and especially 80s graphics. The use of clashing colours and shapes is right up my flamboyant street. Vintage Japanese graphic design is crazy brilliant! The artists have incredible imagination.

    However, I do have eclectic taste and also love anatomical drawings, vintage school posters and am a sucker for embroidered artwork.

    I wouldn’t say I have a defined style as my taste is constantly changing. I go through different phases of types of graphic design I’m drawn to, learn as much as I can and how to achieve my own interpretation, and then move on to my next project.

     

    What are your plans for the future?

    I want to run my own agency one day and make work that cuts through the norm, changes culture and has a touch of madness in every piece we create. Risk taking will be high priority!

    I’ve also been working on illustrations for a children’s book and an adult comic book about mental health issues so watch this space.

    But for now, I’m focusing on securing a job and making Mumma proud!

  • 5 Curious Minutes with…Andy Lo Pó

    5 Curious Minutes with…Andy Lo Pó

    Andy Lo Pó is an award winning photographic artist hailing from Melbourne, Australia. After graduating from the University of Arts London, he settled in our nation’s capital and now creates images for editorial and commercials. Impressively, some of his work is due to go on display at the National Portrait Gallery, and we are excited to say, one of his personal pieces is hanging in the Curious gallery.

    Andy is known for his portraiture work, and collaborated with Curious most recently on a campaign for MTV.

    We had 5 Curious minutes with Andy Lo Pó…

     

    Who or what inspired you to be a photographer?
    I’ve always been fascinated by visual mediums – I think the nice thing about photography is that you can pick up any camera and start shooting and you have your results very quickly; whether shooting on film or digital.

    What is your favourite piece of work?
    I’d say right now it’s my piece: “Girl outside the Pizzeria at Night”. It was a spontaneous portrait I took in Sardinia after a long and trying day at an ancient horse race. It’s just been selected as part of this year’s Taylor Wessing Portrait Prize and will be displayed at the National Portrait Gallery.

    Girl outside the Pizzeria at Night – Andy Lo Pó

    Funniest moment on set?
    I’ve seen both funny and scary… Ricky Gervais lying on the floor holding a banana to his head was quite funny I suppose.

    What photo or series of photos do you wish you’d taken?
    I’m going to say Avedon’s “In the American West” as it’s just such an incredible body of work over a very interesting period in time. It also contains the beautiful and otherworldly portrait of Beekeeper Ronald Fischer, which was quite an influential image early on for me and really piqued my interest in photographic portraiture.

    Beekeeper from In The American West – Richard Avedon

    What was the best piece of advice you were given?
    Not advice really but one of my lecturers when I was studying always gave me a lot of encouragement – it’s nice when someone believes in your work.

    Your use of light and colour really makes your work stand out, and is mainly captured in camera. Do you think post production can devalue photography or does it add a level?
    For me, you can’t recreate the mood captured in camera and you can’t recreate the lighting either. When I’m shooting a portrait it’s about finding that fraction of a second when you get just the right emotional response from the sitter at the same moment that the light is perfectly falling on them. Now, obviously, post production may be able to enhance what you’ve already achieved and if we’re talking commercial work then it really can add the final polish that the client is after. It also takes quite a talented retoucher to really understand a photographer and how they like to work with post production.

    Your portfolio suggests that your favourite subject is the human form. Where did your passion for this originate?
    Like all of us growing up, we’re surrounded by the human form, so it’s there and it’s fascinating from a very young age. Then in time you start being introduced to the human form in art, in film and music video. I still remember seeing different things on the telly when I was quite young; various music videos, horror films etc. Some of these images stuck with me and I guess they all contributed.

    What have been the most memorable moments in your career?
    There’s been a few. It can be a gradual process but then you can also have bigger moments that tend to speed things up. Those very first editorial and advertising commissions can be quite pivotal moments that perhaps you don’t fully recognise at the time. The same with awards. But there’s still nothing like the feeling of knowing you’ve got a shot that you feel really happy with.

    What have been the moments you’d rather forget?
    Not many really. The odd person that’s just not interested in being photographed…

    What are you most grateful for?
    I feel privileged to be able to work in a competitive industry with a medium that I love.

    Andy is represented by Wyatt Clarke Jones

  • 5 Curious Minutes with Emma Witter

    5 Curious Minutes with Emma Witter

    Sculpture artist Emma Witter creates beautiful artworks from the slightly less conventional material of small animal bones.

    That’s right. Small animal bones.

    The sculptures and installations are created from hundreds of bones salvaged mainly from Emma’s own cooking. She then meticulously cleans, bleaches, and categorises each bone before creating her pieces.

    Emma is a old friend of Curious Productions, having previously collaborated on the delightfully crunchy project, Crisp Flowers, a unique floral arrangement created entirely from crisps and photographed in the Dutch Masters style.

    Below, Emma speaks to us about becoming Hix Art’s first Artist in Residence, her influences and not least, where her unusual interest in using animal bones in the name of art originated from.

    Did you always know you wanted to be an artist?
    I was always going to do something creative for sure. I loved nature and thought I was going to be a gardener, or mix perfume, or study insects. When I was a kid I wanted to be an archeologist or a paleontologist – I wanted to dig up remains and discover special treasure.

    Who or what was your childhood inspiration?
    I have this amazing great aunt and uncle whose house and long twisting garden I’d love to visit. He played percussion in a folk band and she made little stained glass windows. They were great at drawing, and my sister and I used to spend hours with them in their conservatory making pictures.

    What inspires you now?
    Other artists inspire me – old and new – and I go and look at shows as much as I can. When I see something good it makes me feel refreshed and excited and wanting to make some new work. I love sculptural / assemblage work by Eileen Agar, Marcin Rusak, Phoebe Cummings, Susie Macmurray, Kate McGuire, Ken Price, Ron Nagle …

     

    (L-R) Pieces by Eileen Agar, Susie Macmurray, Phoebe Cummings

     

    How did your interest in creating sculptures with bones start?
    Quite passively actually – I had a general interest in creating sculptures out of food, and then started making some tests out of bones I had collected from meals. I held on to them because I thought the shapes were so soft and beautiful and it felt like a shame to throw them away. Then I gradually became more obsessed with the material.

    What would be your ideal commission?
    I would love to do something very site specific and create bone flowers, plants and nests which would inhabit corners of the room, grow out from the walls and twist around the pipe work.

    Who is your hero?
    Sounds cheesy but it’s my Mum. She’s worked for the last 20 years with severely special needs children and for that I think she’s being a hero every single day.

    What piece/pieces do you wish you’d created?
    I get a huge pang of jealousy over the Dali Menagere Cutlery set. It is six pieces comprising of two forks, two knives and two enameled spoons. Specifically and wonderfully named:

    Fourchette 4 dents à manche poisson (Four tooth fork with a fish handle)
    Fourchette-éléphant 3 dents (Elephant fork with three teeth)
    Couteau escargot aux larmes (Snail knife with tears)
    Cocteau feuille (leaf knife)
    Petite cuillère-artichaut (small artichoke spoon)
    Cuillère-artichaut (artichoke spoon)

     

    Salvador Dali Menagere Cutlery Set

     

    How did you feel when you were invited to be Hix Art’s first Artist in Residence?
    Absolutely thrilled! I’d had this in mind for a long time as something I really wanted to do. I was also really looking forward to having a three month project where my mind was only on one outcome – it felt very cleansing on my hectic brain.

    What are you most grateful for?
    Flukey, unexpected meetings with fantastic people and stimulating friendships.