Nifty Gateway Curated Presents Ralph Steadman x Ceri Levy: Gonzovation Part II
Estimates of the total number of biotic crises (AKA mass extinction events) that have occurred over the last 500 million years range from five to more than twenty. While the scientific community generally agrees on what’s colloquially referred to as the “Big Five,” what’s more commonly debated is whether or not we’re currently experiencing the sixth mass extinction in our own time, the Anthropocene Age, the Age of Humans. Proponents argue that this ongoing extinction event is a consequence of human activity — a unique characteristic relative to prior extinction events, the most recent of which having occurred somewhere around sixty-five million years ago.
Much more recently than all that, British filmmaker and writer Ceri Levy asked renowned illustrator Ralph Steadman to produce one piece of art representing an extinct bird for an exhibition he was putting together titled, “Ghosts of Gone Birds.” That one work birthed a trilogy of books, an incredible friendship, and a rallying call for Gonzovation efforts (more on that in the interview below…) with the wit and humor you’d expect from this duo. As environmental devastation and the dwindling of species continues unabated worldwide, the two have continued their efforts — now introducing Gonzovation Part II on Nifty Gateway.
Ahead of this collection, I had the opportunity to speak with Ralph Steadman and Ceri Levy about the history of their collaboration, their upcoming release in partnership with WildAid, and all things Gonzovation.
To participate in Gonzovation Part II, beginning October 2nd at 6:30pm ET, please visit the collection page on Nifty Gateway.
How did this collaboration between you both start?
Ceri Levy: I approached Ralph to draw one extinct species of bird for an exhibition I was organizing to show the danger of extinction so many birds in the world face today. A friend gave me Ralph’s email and said write to him and when you have just about given up hope then something wonderful will drop in your inbox. Sure enough, after two months I got a reply, which stated, “I don’t know what you want from me, but I’m intrigued! We must talk!” My phone rang and it was Ralph, who proceeded to read me a story of his for the next fifteen minutes. I lay back on my couch in wonderous disbelief as one of my favorite artists had just entered my life, not realizing just what a journey we would go on together!
Ralph, Can you tell us about the artistic techniques employed in these works?
Ralph Steadman: For Boids and Nextinction I just did what Ceri told me to. He is a harsh taskmaster!
Interjection from CL: One has to crack the whip otherwise Ralph would be too busy lollygagging. That’s a word everyone should know. It means to spend time aimlessly. Back to you, Ralph.
RS: For Critical Critters I used the Dirty Water Technique. I poured water from the pot I wash my brushes in — the dirtier and smellier the better — onto a piece of paper lying on the floor of my studio. You have to pour from shoulder height to get that splatter. Then you let it dry for 3 days. All the silt and muck from the bottom of the dirty water jar then settles into amazing textures and patterns that could not be done by hand. Then, over Skype, I would hold the dried blot up to Ceri and we would try and see the animal in the dirt.
Another interjection from Ceri: Actually, the discovery of the dirty water technique was purely by chance. Ralph was busy tidying his drawing area ready for the next drawing. He moved his sheet of paper onto the floor and he accidentally knocked over his dirty water jar within which he cleans his brushes. The water spilt all over the paper on the floor.He saw the mess he had made, swore and instead looked at the spreading water and ink colors and became fascinated. He called me, told me what had happened and said he was going to see what it looked like when it had dried. When it had, we looked at it and imagined what we could see. We termed this the Ralphschach Technique of looking as we began to see animals within. Then I said this would be his Dirty Water Period like Picasso had a Blue Period or a Rose Period. As Ralph always says, “There is no such thing as a mistake, just an opportunity to do something else.” And boy what a beautiful mistake!
Ceri, what’s been most exciting or insightful to you in your research and writing for this project?
CL: My interest was first piqued by the plight of birds and then the realization that these creatures take you to the most extraordinary places such as Kazakhstan where I was documenting a project to save the Sociable Lapwing from extinction on the Steppe. On a day off we drove up to the border with Kyrgyzstan to search for a rare bird called an Ibisbill. We managed to find it when we saw two soldiers approaching us with guns and they demanded to see our passports. Our guide had told us to have our documentation with us at all times but I had left mine in the car which was a good couple of miles away. This was going to cause a problem apparently and before our guide told them, I called them over to the telescope which was fixed on the Ibisbill and suggested by hand gestures that they have a look. One soldier went to look and the other reprimanded him, I presume for engaging with me, and they began to argue. They started walking back down the road arguing and as they moved further away we packed up our gear and got the hell out of there! After all we had seen the bird and irate soldiers, guns and lack of passport don’t really mix.
But on the whole the passion that exists for wildlife has been a wonderful thing to tap into and become part of. We could all do with reminding ourselves of our place in nature.
How did this partnership with WildAid come to be?
CL: The founder of WildAid, Peter Knights, has been a longtime friend of mine and I wanted to support the incredible work that they do. There are many great organizations helping the planet but because of my connections, WildAid and the great work they carry out has a special place in my heart. So the relationship continues.
What lead you to make your art accessible through NFTs?
RS: My daughter, Sadie, wanted to give it a try. Somebody in the USA had told her about them. There is a lot of work in the archive and she thought it might be a way to introduce my work to a whole new audience. Some of my work is older than some of the people buying it as NFT’s!
I don’t really understand it myself but we have talked to people all over the world about them and collaborated with other artists in the UK, USA, Australia and Europe. It’s really Sadie’s project and I am along for the ride.
Can you discuss the concept for this release specifically?
CL: The four elements of Gonzovation are simply where we find creatures on this planet. In the air, in the water and on the earth plus in the imagination, which is where so many incredible creatures emerged from.
What does it mean to be a Gonzovationist?
CL: Gonzovation is about compassion and kindness to the world around us. To each other and to every creature that lives alongside us... We can all play a part in helping the world around us.
Seek out the gonzovationist within you!
What can people do to help stop the illegal trade of wildlife and support WildAid’s mission?
CL: That’s really a question for WildAid themselves. But logging on to their website is a good start and take it from there.
