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the artist vandalising advertising with poetry
His very delightful verse is presented in a white font on a black background, screaming ideas about beauty, consumerism, and hypocrisy.
For the past decade, elegant words and their sparse presentation have been on hoardings.
But Montgomery, trained at the Edinburgh Academy of Arts, is not really a street artist, and the intellectual base of his work in the torrent of brilliant language has collapsed.
Although he was welcomed by the movement to some extent.
On the contrary, he thought he had followed the European revolutionary of the last century, and they built the artistic environment (
What we can call guerrilla facilities today)
Promote your ideas in unexpected places.
Montgomery was interviewed by The Independent. co.
About his first solo gallery exhibition in London, KK Outlet in hawkston: My studio is in hawkston, so it is very good to show it locally.
This exhibition is basically three billboards on the Old Street, and there is a logo in front of the gallery made with solar panel LED lights called recycled Sun sheets, very useful, very low power LED lighting.
Three Billboards on the Old Street. Do you have permission?
We have it in this case.
I sometimes work without permission but I don\'t want to get the gallery stuck [laughs].
How does it work when you do these works without permission?
We really run around at night.
We usually have only two people.
People reacted very well to it.
There are many people passing.
Ordinary people really like to see billboards full of poetry.
I think they feel really cool.
So we have never had any trouble.
Did the police come up and ask what you were busy? Actually, no.
They walked slowly, but they never really came to me.
Is that because you act like you should be there? Not really.
We don\'t wear workers\' clothes. like clothes.
There was an interesting episode the year before, and we made a couple of covers on Cameron\'s campaign poster-very interesting because it was a stupid campaign --
We did it near the mayor\'s office.
It was very high and took a long time and I really thought we were going to get into trouble.
But, you know, everyone who walked through was grateful and we got away.
What do people do to express their gratitude?
From smile to hug.
I was hugged a few times in the street. Laughs].
I met a lot of people.
It\'s good to sell my work in the gallery, obviously, it\'s good to attend the Venice Biennale, but so that my work can reach the average person, which is a more basic thing for me.
Ordinary people on the street are much smarter than the credit society gives them-they are not conceptual art at all --phobic.
You obviously work in the resonance of street artists, but you don\'t seem to have the perspective of street art.
Behind you, there are street artists, especially graffitists, who are often not trained.
Did the street art circle hug you?
Yes, I have a richer academic background on the street, but I do feel the emotional connection with the street artists.
In fact, I am working with graffitist, east London from Bow, called Krae.
He is a typical graffiti writer who grew up in a residential area, away from the streets.
This piece I showed in Venice called all the palaces was a temporary palace that really resonated with him, so he asked me if I could use it to build a T-shirt.
I did some work like writing at some point.
In the strictest sense, this is not graffiti art, but writing with paint.
I think it\'s easy to do that.
So I decided to work in a very simple way visually-all billboards have black backgrounds and all billboards have white text --
So it\'s not classified as graffiti art and written off until people read it.
At the same time, it is a very unobtrusive style, so it is clear that it is not an advertisement either.
Tabloids use white on black fonts to make things stand out on the front page-is that what you want? [Laughs]
In a sense, I want the words to look almost like collective unconscious statements.
They are very subtle ideas, very poetic;
Sometimes political views are mixed with poetic allusions.
The words can be complicated, so I want them to look as simple as possible.
If I tell you what I think of the tabloids, it may not be printable.
Okay, let\'s move on.
For a particular place, is a specific poem or text excerpt used? Sometimes.
I just made one in the Old Street (pictured)
The house facing Shoreditch was not installed until recently.
I was going to work with them but they were eliminated in January 25 so it didn\'t happen.
But one of the texts proves to a great extent the positive things that I think Occupy is doing.
It began, \"There are wooden houses on distant lands --
Stay away from places that don\'t need to spend too much money, and those light strings that gently lead to them, and don\'t turn off the stars.
The black flag of 100 Anarchy rises on a night 100 miles apart.
\"There are rows of tents in front of Sao Paulo guarding our future-or trying to protect our future.
I think the whole thing is moving.
I find it incredibly moving that Giles Fraser resigned from the Church of England in support of the Occupy movement.
It is very important for the church to show sympathy for what they have done.
This shows that the concerns of central England and the occupation are not far away.
I have worked a lot in the Coalition to Stop War over the years, and I have done a few things with them and some of the parades.
There\'s a lot of middle class, middle class.
The elderly in the hometown county are marching.
You are art from a rather political background.
What does this have to do with your Situational influence?
There are great similarities between the 1968 strikes in Paris (
When the movement reaches its height)
What is happening in Britain now.
Environmental activists have certainly become the focus of my obsession since I was at art school.
I think Guy Debo thinks society is a spectacle-he\'s from the post.
Marxist point of view, but he analyzes the Alliance of capitalism and the media, and predicts that he calls it a \"spectacular\" life in which man will feel with what we do
We live in a society that is out of real life, surrounded by pictures that are designed to market things to us and make us paranoid.
I think we are now living in a spectacular era.
The scene party\'s contribution to the May 1968 uprising was to write poems on the walls of sobang\'s campus.
They see poetry as a promoter of political change, which I find interesting.
Of course, you sell smaller pieces through the gallery, but have you ever sold your billboard?
I never sold a billboard.
They just spent my money. [Laughs]
But I do think they are the most important thing in terms of what I do.
What I want to do in life is pay rent and make billboards.
This is my complete ambition.
This turns out to be the case because you had such a dream in KK Outlet from today until February 25. kkoutlet.