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Stella McCartney + Ed Ruscha
If and when you get the chance, of the best and most enticingly inspirational things once could possibly do, is watch the Stella McCartney + Ed Ruscha (Iconoclasts series 4). There is nobody more humble than McCartney and nobody greater to have received awards and to have collaborated with some of the worlds greatest creatives.
I am unaware of when i first fell in love with both Stella McCartney or Ed Ruscha; what i do know for certain, that one of the reasons i learnt about Saint Martins, before i turned eleven and thus, before i attended, was because of McCartney. As for Ruscha, i again do not know when i fist began to recognise and love the works of Ruscha, but it wasn’t until i was twenty-one when i saw a Rushca (or at least realised i had seen one). It was in New York, on the High Line ('Honey, I Twisted Through More Damn Traffic Today') which i have blogged about several times since.
There are several things so undeniably compelling about this programme. As someone who is well immersed in the arts, it’s like a devilish treat; everything great about what i have studied and that which i have put into practice, is discussed by two innovative leaders. They are both modest despite their achievements and they are honest. Never have i heard such honesty in the arts. Other than, of course, the most famous quotes of the late Louise Wilson, and a small section of others. McCartney delves into what she knows and what she has done whilst discussing how her time at Chloe was, to paraphrase, a break from something she could not handle. This was in addition to the general discussion of Saint Martins as an institution, the industry as a whole and the ethics and ideas behind her brand as well as the use of organic innovations. Ed Rushca, quite similarly, delves into the making of some of his most noted works and the ideas and non-ideas behind his works.
The world of Ruscha and of McCartney are fascinating. And it is of this short, off-the-cusp posts in which i find a struggle to write such little and so hastily after watching the Iconoclasts programme, but it is of that desire from watching them, the excitement one gets when so much resonates with the, inspired them or reminds them of the time, in which maybe they saw that first piece of artwork, almost in the same way McCartney describes a childhood of Giacometti sculptures. And it is because of this almost excitement, and thus, my desire not to re-write this piece of work or even to attempt at some point, to make this into some form of more coherent text, that i leave it here, because sometimes i believe things need to be left, as often such things hold an air of something intangible and great; including the imperfections and rambling sentences.