October 02, 2018
It looks like the Trinidad and Tobago art scene is welcoming some young blood.
Fresh faces are taking over from the crowd we knew ten years ago. The New Cool includes filmmakers like Maya Cozier and Shari Petti, photographers and stylists like Acute An9le and artist/filmmakers like our current interviewee, Elechi Todd. Todd is a graffiti artist, painter and creator of the artist film series Studio Archives—A video series documenting some of Trinidad and Tobago’s seasoned artists.
We wanted to get to know Elechi and become acquainted with his process and influences. Additionally, we sought to discover how these new kids on the block are creating content, producing shows and marketing themselves at this juncture in time, while also learning from their ‘elders’.
The first time we noticed your work was when we saw your street art. How long ago was that and was it the first time you showed your art publicly?
ELECHI: I started making street art in 2015, but I created the life-sized shadow figures that I am known for in 2016. They were more popular of course because of their placement and scale. However, that was not my first time displaying art publicly. I collaborated with Kriston Banfield on a small show at an old house on Dundonald Street in 2014. Neither of us knew anything about hanging art, so it was quite the learning experience.
Who or what influences your art?
ELECHI: That’s a difficult question for me because of the crazy plethora of random things that influence me personally and in turn, influences my work.
When it comes to influences, I pick and choose the qualities of the person or thing I want to adopt. Although I might admire that thing as a whole, I still want to be able to own it as something that comes from within myself.
Music has a significant influence on my work, musicians like Miles Davis and Fela Kuti.
“I’m inspired by people who were obsessed with their practice and never stopped pushing boundaries and challenging the status quo.”
I recently realised the extent to which I am influenced by graffiti and artists that do both street art and art tailored for galleries.
I was first inspired by a classmate of mine, nicknamed “Jap”; he was two years above me. There was only one art room, so we were all in the same place. He was the most prolific artist in the school at the time; I was enthralled by how he rendered images with such ease. At that age, I thought he was so damn good. I would abandon my work just to watch him draw or paint.
My first encounter with what I would call good street art in public spaces was when I saw an immense and very peculiar piece on the wall outside of ‘Caribbean Growers Association’ when I was passing there on my way home from school one day. I was completely taken by it, I’d never seen anything like it before, but I loved it instantly. I couldn’t see it long enough, and when it was out of sight, I couldn’t stop thinking about it. When I got home, I did a frantic Google search to find out who the artist was. Eventually, I discovered that it was (multidisciplinary artist) Wendell McShine and he has been and still is a significant influence on me. I even ended up writing a paper on him for my CAPE examinations.
I’m also a big fan of Basquiat, mainly for the fluency with which he painted using the language he developed in his art and his ability to channel his state of mind onto a canvas so effortlessly.
My personal life influences the subject matter in my work because it’s what I know better than anything else.
I use my work as a means of self-expression and reflection- playing with the thoughts in my head and experimenting to see what random things might come out.
The media brand AJ+ has used some of your footage in a viral Carnival clip, and you’ve also done some ad work for Mitsubishi.
First off, how did you feel seeing your work used by AJ+ without permission, pay or credit?
ELECHI: Ok, I think there was a general misunderstanding of that situation, they didn’t use the footage without my permission. They contacted me, we made an agreement, and I allowed them to use my footage. The issue, however, was that I did not receive credit at the end of the video…which was part of the deal.
As you know credit is crucial to artists, content creators etc. Even if we get paid, we still need the credit because it helps with getting your name out there and it lets people know that you’re legit.
I cleared that up, and they tried to make it right it but the damage was already done, but people make mistakes? I don’t know… I didn’t fret too much beyond that day.
And Mitsubishi — was that your first ad commission? How did they approach you? And what was that experience like?
ELECHI: The Mitsubishi gig was my first ad commission I think, definitely a first concerning me doing work for a big company like that. An old friend of mine works for a company that hires out content producers like me. He liked the videos he saw me doing so I guess he recommended me, and well, I got the job. (yay) It was pretty cool to work on, especially since I was working with cars and I got to do all those cool, smooth stylistic shots you might see in some car ads. Also, we went up to Paramin for the last one, and it’s stunning up there.
We were at the ‘Common Thread Exhibit’ — a group exhibit and collaboration with your friends and fellow artists (which was an excellent show by the way) But what put the show on our radar were the promo videos you did with the artists. Why was that the approach taken to advertise the exhibit and how was the show received?
ELECHI: Thank you, well we wanted to have a strong turnout, so I knew that we needed more than just a flyer, particularly, if we wanted people outside of our usual crowd to come to the show. I had been making videos for smaller things I’d done like an open studio, and it was pretty simple. We had this tool at our disposal for advertising, at no cost so why not? I also had never seen a promo video made in that way to advertise an exhibition here, so in typical fashion, I wanted to be the first. I ran the idea by the team, and they supported it.
However, there was no way that I could get the show together with the other artists and also shoot and edit a video. That’s when we got Shari involved, and she so graciously agreed to help us. A week before the show, over the course of three days, we went to each artists’ studio and shot the promo video. Shari just did what she does, I didn’t need to have any creative input, and it came out great.
I think the show was well received by most, but of course, you get different kinds of feedback from….different people. I was happy with the outcome, we all were, and that’s what’s important.
You started the video series ‘Studio Archives’ which I loved!
What made you decide to create that film series?
ELECHI: I watch a lot of interviews and profiles on visual artists, full-length documentaries about artists and art. At one point it comprised most of the information I consumed on a daily basis.
I devoured A LOT of material, seeking out information like what makes different artists who they are and how established artists talk about their work. Eventually, I got to a point where I wanted more information on local artists, and naturally, I would use the same means to gather information.
Google and Youtube searches failed me. I may have found some articles, but I wanted video content. I wanted to hear the words come from the artists themselves. I was frustrated because I couldn’t find anything and I thought “why hasn’t anyone done this??” I felt like it was such an obvious thing to do. Then I thought “of course nobody did it because…Trinidad” but that wasn’t the right attitude. I knew that I wouldn’t get anyone to be as dedicated to bringing the project to life and I didn’t have any money to pay anyone to do it for me, so I had to get it done myself.
At this point, I knew nothing about making videos, I knew a bit about the basic functions of a camera but never really did any videos but I’m kinda crazy when it comes to actualising my ideas. Fast-forward a year, and I’d gotten a few opportunities to learn about video production hands-on, and I was ready to start.
Tell us a bit about the process of making the series.
ELECHI: It was a learning process really, to iron out the kinks and get everyone working with me to be cohesive and in the right positions. Also for myself to figure out the best way to conduct the shoots. Probably after the third episode things ran more smoothly. I got my friends to help me out because I definitely could not have done it alone. From getting the logo done to producing the interview questions, to the actual filming of the videos. I required at least two cameras and needed help getting contacts for the artists I didn’t already know personally.
I would contact each artist and give them the whole rundown about why I wanted to interview them and the rationale behind the series. Some were more hesitant than others to do the interview, and some didn’t agree at all, but I could respect that. Once the artist agreed, we’d set a date, and I’d start thinking about questions along with my friends who I appointed to that section of the production. On the day it was always a high-pressure situation for me mentally because there were so many elements that had to be accounted for to make the final product but we prospered, and I’m happy with what it is.
What went into the artist selection for the series?
ELECHI: I chose artists that I admired, either for their work, work ethic or both. I knew that they’d have valuable things to say. It’s unfortunate that everyone won’t be able to experience the un-cut live version, but I kept the best parts in the edits. It should be noted that I didn’t get to interview every artist on my list, there were a lot of issues with scheduling and time etc.
Any favs?
ELECHI: There were favourites for me regarding the level of production we were able to achieve. I loved how the Che Lovelace and LeRoy Clarke videos turned out. Concerning interview content, I don’t think a comparison can be made because each artist is so unique and imparted his or her unique knowledge.
What did you learn that you think is most valuable from both your ‘Common Thread’ group exhibition and video series ‘Studio Archives’?
ELECHI: From the Common Thread experience, I learned more about the artists I collaborated with. It’s inspiring to see that they’re working hard at honing their craft.
Artists tend to live in a bubble, so sometimes you can’t see that this other person might be doing just as much as you are and has similar goals. You get a sense of that when you visit an artist’s studio.
Studio Archives gave me a similar feeling but from the vantage point of them not being my peers but my elders, the ones who came before me. I think that at that point I was suffering in the studio to make anything at all or anything that I could say was a representation of myself. Those studio visits helped me because the material I got was so valuable. I’m not sure how else I would be able to get information like that, it’s like years of knowledge was just laid out before me.
Artists hate this question but what’s next for Elechi Todd? Are we done with Studio Archives? More film or more exhibits?
ELECHI: I’m a private person but let’s just say….I’ve been keeping up with a very rigorous studio schedule. I’m always working on something, so there’s definitely a show or a film or a web series in the making. If not yet physically, it’s definitely in my head.
We can’t wait to see what the future holds for you Elechi.
INTERVIEWER: TANYA MARIE PHOTOGRAPHER: ERROL JOHN
