Recently I had a pleasure to meet an incredibly inspirational young artist – Anouska Beckwith. Born in London, Anouska spent her early years traveling and exploring her artistic side with the help of good old photography. Moving on to pursue her degree at Speos Photographic Institute, Anouska lives and works in Paris. She is also the founder of the World Wide Women Collective. We caught up on life, art and spiritual in a pre-christmassy moody city of London that left me motivationally driven to go on and explore my inner self.
- When did you first know you wanted to be an artist?
My two Grandmother’s taught me how to knit and embroider and my mother always enoucuraged me in art classes, ceramics and photography from a young age… it wasn’t something that I decided necessarily on, but I enjoyed it a lot. Then it got to a point where I was about 22 and I wasn’t happy with what I was doing. So I thought to myself, what would make me really happy throughout my life, what is something I can do in my 80’s, or when I have a child? I live in the future, I find it quite hard to be in the present. I started taking photographs again, which I had done before but not on a specific subject, just on travels or of friends. I started looking at what I was inspired by, and by 23 I knew that was the field that I wanted to go back into. I think as a creative person, you should never say well, this is just what I am. Otherwise you get quite frustrated or have an artistic block. That’s the death of the artist, so for me I like to play with different mediums.
- So you don’t define yourself?
As just one thing, no. At the moment I’m working on two photographic series for myself, and then I’m building an installation room, which I’ve been working on with the architect, Omar Ouazzani Touhami for the past three months but I had the idea 4 years ago. Then I’m building a photographic light installation featuring my muse Flo Morrissey. The artists that I very much respect are Yayoi Kusama and Yoko Ono. Those are the people I’m very inspired by, because you look at their body of work and there’s just so much to choose from.
- Would you do performance, like Yoko Ono?
Absolutely. I would like to do a performance piece to do with dance at some point as I trained as ballerina and have always feel free when exploring that as a medium. I’ve learnt how to be in front of the camera and I’ve just done my first music video as a director for the musician Katy Rose which will be released in the next couple of months and I did a short film last year about Shakespeare’s Ophelia. It’s always about the right time and the right material, I never like to rush things. I studied photography at school, and then I studied at a Speos Institute a French school in Paris, so that was the initial starting point.
- Why did you decide to move to Paris?
I had always wanted to live there, inspired by the culture, beauty, and as a visual fantasy land, I mean, I love Tim Burton, that kind of Gothic, subtle, beautiful, but it’s not modern. Everyone still dresses like they’re from the ‘60’s or ‘70’s, and I love that style, so there’s a lot of things for me as a woman that I found very appealing. They have amazing food and culture, so I thought that if I could live in Paris and survive there with the French, I could live anywhere else in the world! I’m definitely a traveller so I like to go to different places. I believe in reincarnation, so I feel drawn to certain places that I haven’t been to, and usually if I’m desperate to go there, I end up just loving it.
- Do you get inspiration and ideas from traveling?
Absolutely, but not only traveling. I love film and literature, art and photography, poetry, I’ve got my head definitely in the stars, so I’m not somebody who’s very pragmatic, I like to be away with fairies and look at life as if its a miracle.
- Why did you decide to stay permanently in Paris?
Well I knew I wanted to move for a period of time. I’d grown up in London partly and I didn’t really ever feel very English. I’m someone who likes to see other cultures. At the end of the day if you can see as many places as you can before you die, that’s one of the most valuable gifts you can give yourself, whether or not you have a boyfriend or you’re married, or you can show your children… so I’ve definitely got the traveling bug.
- Do you just go trekking with a backpack?
It depends, if I’m going to America, no. If I go to India, I used to go with a backpack, live on a hut on the beach. Once I slept in a broom closet, I’m quite versatile with how I can travel. If somewhere is special and it’s worth going to see, I like it to be as natural as possible. I’m very lucky that I’ve had some amazing people that I’ve travelled with and who have showed me lovely places. India was an eye-opening experience from a very young age.
- Do you think the art scene is different to each other in Paris and London?
Very much. Paris is a bit behind with the art. They don’t do so many installations, they love reportage photography, so Henri Cartier-Bresson is their mecca, they’re not so into fine art, they love fashion, whereas in London, fine art, fashion, reportage, they fit all of those aspects in the same, and you have nature and geographical but that’s very specific. But me, personally, I love New York as one of the places with the best art because there are just so many art galleries, it’s just a bigger industry. But Los Angeles is definitely becoming a hubbub of contemporary artt, photography & fine art, it’s becoming quite a cool place to be an artist. You have to know where you, as an artist, are inspired. It’s about standing as an individual and developing your own voice.
- Have you found it?
To a certain degree but I think with an artist you’re always looking at your work in a way that’s slightly like torture. You’re always wanting to be better, to push yourself, and you want it to be somewhat original. We’re all slight shades of grey to begin with because we’ve had so much work in the past thousands of years that it’s quite hard to come up with an original idea. I’m not thinking that everyone’s going to like my work, that’s not the goal. It’s more to bring light and positivity and hope and beauty to people, because I think there’s a lot of darkness in the world. Sometimes I make darker work but I don’t necessarily expose it. There’s a difference with making work just for yourself or having it to show others…
- Do you remember the first time you showed your work in public?
The first work that I exposed, was when I created the collective World Wide Women, in 2012 for the ‘ Wanderer’s Eye Exhibition’ in Paris. I was quite nervous about showing work, so I set up the collective with women who were just starting out and exhibit under common themes of nature, femininity, and positivity, and the esoteric which went under the banner of the positive. It was about empowering one another and not about extreme feminism. That was the beginning of WWW and since then we’ve done eight shows in the past three years. At present we are coming up with our next theme for an exhibition and expansion for 2016-17! Then I had my first solo show Transcendance curated by Andi [Potamkin] in New York in 2015, and then I did another female exhibition at the Box Studio in East London curated by Clio Peppiatt with Female Matters. That’s been my journey so far and then next year I would like to exhibit the installation room.
- What is this installation room like?
The project’s called “I am the other you”, and it’s about human beings relationship to nature, especially trees and how important it is to preserve the rainforest and for us as humans to live in harmony with the planet. I came up with the idea four years ago after a shamanic ceremony and had the vision to do 8 rooms, called the “Infinity Series”. My good friend designer/artist Koji Tatsuno was extremely encouraging of the original idea and really pushed me to create them so I am very grateful for his belief in me.
- Where do you see yourself in the future?
I’d like to be a working artist throughout my life. I like producing work and getting it seen, promoting it through social media or having it in an exhibition or in a magazine, because part of it is to share with others, and have feedback. It’s an interaction. Everything’s so personal and subjective. I want people to tell me what they like and don’t like. That’s what’s so interesting about art – it’s so individual.
- In the contemporary art world, though, artists could be forced to create something trendy in order to sell it. Have you ever experienced this pressure?
No, that’s why I live in Paris. In London, there is that feeling of having to confrom. I think a lot of art is the emperor’s new clothes, it’s something on the wall, invisible art as an example. If you’ve got to imagine what’s on a wall… Well I can imagine what’s on a wall any time. For free. For me, nature is one of the most important aspects. I love going somewhere and finding a completely beautiful and raw backdrop and having a very simplistic form, generally it’s women because I like photographing my friends or people I’m inspired by. I’m photographing more men at the moment. I just shot the actor and musician Reeve Carney for a two projects in Dublin. After a while of having just women, it’s a bit of a challenge to take a photograph of a man or do something slightly different. So I’m always exploring other options. I like beauty, but I don’t necessarily like what commercial beauty is. I’m interested in not just the outside, but the inside as well. I’m very much a romantic person, I’m a fantasist to a certain degree. I love Dali, Klimt, Millais, John Currin and Frida Kahlo those artists take you to another place, and that’s for me what art is about.
- Do you think art is necessary in society?
100%. Personally I feel that schools try to educate people to conform to being the same as everyone else. I don’t think that’s what life’s about at all. I think life’s about being happy and finding that happiness, and if you have to work three different jobs to make your art, I think personally that’s what I’d rather do. In some countries around the world, obviously that’s not an option to even think like that, so I’m very privileged to have grown up in England where you are given the freedom to have those kinds of thoughts. I feel that art is something that you don’t have to be taught to know what the picture is about. I don’t need to be told, this is why you should like it, you either like it or you don’t. I do different Shamanic ceremonies, and I met this incredible Brazilian doctor and he was saying at the beginning of the ceremony that he used to try to define who he was, like “I’m a doctor, I’m a husband,” and he said the moment you start defining who you are, that part of you dies. And I thought to myself I can totally understand what he’s saying.
- So it’s also a power of thought?
Absolutely. I believe in manifestation, and I believe there’s a lot more to the power of mind than we’ve been given access to. Everyone likes to put everyone in a box and categorize what that person is. I think it’s a challenge not to be put into a box. I think only a small group of people can know who you really are, and those are your close friends.
- Do you remember the best advice you were ever given?
Andi was definitely very helpful. She told me to embrace my weirdness, to not be afraid of that. That’s valuable advice. I’ve not been ever one to conform, but we all like to think of ourselves as not weird, but I think to embarce the light and darker aspects of ourselves and love them rather than repress them could all do us the world of good.
- Do you have advice to young people?
You need to not give up, to keep trying, to believe in yourself.. You never know when a door shuts it will lead you to an open window. Just believing in yourself is a very important thing. Follow your dreams. Life is so short, I try to live everyday as if it’s my last, and not wishing to be doing something else. If you’re wishing to be doing something else, then you should probably be doing that. I feel very lucky that I’m at the point in my life that I can explore what I want to. Even if you’re not in that position, having hope is very important.