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Defastenist Movement, copyright Victoria Mary Clarke 2005.
Every week, people all over the world consume billions of euros worth of art, in the form of books, CDs and movies. But only a tiny minority of us participate in an art form, for fear of not being good enough at it. The fact that the arts are something that only kids and loonies feel really at home with is one of the greatest tragedies of our time. Because in my opinion, if you can’t create, you can’t really feel alive. So when I was introduced to a group of young Irish men who propose to revolutionise this situation, I was thrilled beyond measure.
If there is one thing we Irish have proved ourselves excellent at, it is producing revolutionaries. And traditionally, we have the gift of the gab. Combine these two traits with talent, charisma and youthful exuberance, and you have the potential to change the world.
Gary Farrelly is the founder of the Defastenist movement. The kunstfuhrer, is how he introduces himself. At first, I wonder if he’s being rude, but he explains that it means he’s the leader, in German. He and his friend Padraig E. Moore, (son of Christy), are two of the thirteen artists who make up the ‘kunstbureau’ of the movement, but I am assured that there are several hundred satellite members, scattered all over the globe. Earlier this evening, I received a call from Marina Guinness, who is herself a patron of the arts. Over the phone, she read me an invitation that the De-fastenists had sent.
‘Dearest dearest,’ it began. ‘We, the De-fastenists call upon all those who hear us to crucify boredom. It is our aim to encourage and incite optimism, regeneration, enthusiasm, self-excavation, and ultimately a fresh, non-elitist scene which expresses itself through the universal language of art.’
In 1977, I was too young to be a proper punk. I didn’t have access to fishnets, or hair dye or the Sex Pistols. But I longed, with every fibre of my little body to belong to such an exciting group. I was desperate to wear safety pins in my nose and spit at people. The De-fastenists, before I had even met them, stirred that age old yearning. Was this my opportunity, at last, to join a real live revolution? ‘Oh, and they are exceptionally beautiful young men,’ Marina added. ‘And they like dressing up.’
I adore dressing up, I am fond of cute guys and I’ve always suspected that it is my true calling to be a famous artist like Damien Hirst. So I issued an invitation for the De-fastenists to come to my house for tea. Gary Farrelly, who brought along a bag of jelly babies, and impeccable manners, did not disappoint. He is possessed of a perfectly chiselled face, the kind of face found in classic black and white movies. But not the strong, silent type. Gary speaks in torrents, and brings an element of physicality to his speeches. Padraig removes his spectacles measuredly, tilts his head to one side and fixes one with a curious, wide-eyed gaze, as he addresses each issue carefully. They interrupt each other continually.
‘You have to manifest everything that you feel particularly strongly about in your work, otherwise it fails as an artistic creation,’ Padraig says.
‘As students, we used to go to art exhibitions all the time, because you could get pissed for free,’ Gary says. ‘But they were totally shit and boring. De-fastenist exhibitions have musicians playing at them and are exceptionally entertaining. I think that de-fastenism is the last breath of fresh air for Irish art and genuinely I would stand in front of a tank and have myself squished into the pavement, sooner than see it die. Because if it dies, everything that is free minded and independent about this republic will die.’
Padraig smiles benevolently, and sips water, while Gary makes do with gin and chocolate, and tells me about the plans to establish a de-fastenist republic on an island somewhere, perhaps on Malta because it’s sunny. Detailed plans for a de-fastenist battleship have already been drawn up. He also tells me he loves me. This is exactly what the art world needs, I tell them. Passion, enthusiasm, idealism, a sense of humour, a sense of occasion and above all, co-operation. A movement. Never having seen their work, I am utterly sold, and I want to join. But I will have to sign the manifesto and swear allegiance, on pain of death, first. Or at least on pain of being sprayed with Mace.
The next day, I visit Gary at his studio. He is sober, and a little shy. He shows me his work, which mainly consists of detailed maps of his fantasy world. I notice that Marina’s house is featured, as is the house of David Mac Dermott, a member of the movement. Gary is obsessed with airports, and with planes and sailors, among other things. His work always expresses his obsessions, he says, as does the work of all the other de-fastentists. It’s deeply passionate work, and it takes up 100% of his time. He keeps visual diaries, which record his thoughts and feelings, over long periods of time and which are stamped, signed and dated. The man is nothing if not dedicated.
Over tea and a wedding cake, I also chat with the movement’s co-founder, Alex Reilly. Alex is unnervingly pretty, and unnaturally calm. He informs me that he has hitched his career to that of Gary’s for the simple reason that he knows that Gary will be Ireland’s most famous living artist, in a very short time. ‘I knew that from the minute I saw his work,’ he says. ‘Without a shadow of a doubt.’
Whether or not this is true, I don’t know. I do know that to be a successful artist these days, self -publicity is crucial, as is charisma and confidence. Like Damien Hirst and his gang, these boys have the essential ingredients. And like the Brit-art movement, they have youth, passion and irreverence on their side. But while the Brits relied heavily on being clever and cynical manipulators, these artists appear to revel in vulnerability and enthusiasm. Welcome to the age of de-Fastenism. Long may it last.
The third exhibition of Defastenist art takes place at the Black Box, Cultivate Centre, Cow’s Lane, April 20 8pm.
www.defastenism.4t.com
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