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Interview by Passion Dzenga | Photography by James Gallagher | Artworks by James LaceyToday we sit down with James Lacey, the creative force behind Pointless Illustrations and founder of Handy Records. Originally from Cardiff, Wales, and now based in Amsterdam, Lacey’s journey as an artist and music curator is marked by a spirit of collaboration and community. He’s got love for both visual art and music, blending the two worlds seamlessly while staying true to his raw, distinctive style.  From humble beginnings as a mechanic to becoming a celebrated illustrator, Lacey launched Pointless Illustrations and founded Handy—initially a skateboarding-themed apparel brand that later evolved into a dynamic music label. With the label about to drop its seventh release and the Natural Frequencies digital sublabel making waves, it’s time to get familiar with how Lacey’s passion for music and visual art drives his creative vision. Lacey’s got love for collaboration, working with like-minded artists to foster a tight-knit community rooted in personal connections and mutual respect. His creative journey also led to a standout contribution to our SS25 collection and as an Artist in Residence in Patta Magazine Volume One.Beyond the label and fashion projects, Lacey co-runs Lost Groove alongside Retromigration, an underground club night that will return Amsterdam’s Doka for a fresh series of events in 2025. With a focus on sound quality, community vibes, and music over profit, Lost Groove is a celebration of the underground scene. Whether it’s through the decks or the sketchpad, Lacey’s always pushing creative boundaries and making sure real connections stay at the heart of it all.  Get familiar with James Lacey as we dive into his creative process, his journey from Cardiff to Amsterdam via London, and how he balances art, music, and community in unexpected and inspiring ways.How have Cardiff, London, and Amsterdam influenced your personality and what you do?Growing up in Cardiff, it’s not as bustling as metropolitan places like London or Bristol. You develop a sense of community and a mindset of working with your friends to help grow their vision. That mentality stayed with me when I moved to London, which made me approach clients and parties in a way where I wanted to be involved, not just profit from it. In Cardiff and Wales in general, people tend to help each other out more because it’s a smaller scene.Were there any artists or movements in Cardiff that inspired you?I was inspired by local event posters—I used to rip them down off the wall and take them home with me. Ben Arfur, Alexander Sullivan, and Sam Jones were designing for Blue Honey, City Bass, and Rotary Club—local dance events I was a regular at. It inspired me to realize I could do it myself, as it was so accessible. Thankfully, after pestering Ben, he showed me some tips to get me going. Your journey started with a hands-on approach. Can you talk about what you used to do and how that led to founding Handy?I’ve always been hands-on, working in builders’ merchants and eventually becoming a mechanic. I worked for Range Rover and Jaguar, and I was pretty good at it. But after my best friend, who was also a mechanic, passed away, I just couldn’t stay in that world anymore. For escapism, I started drawing for fun as a way to cope and launched an Instagram page called Pointless Illustrations as these drawings I was making didn't mean anything, especially when I began. Eventually, I started Handy as a way to put my art on t-shirts and other skate gear.How did you make your first t-shirts?I was working at a screen printer to make ends meet, so I had access to the equipment. I designed everything in Adobe Illustrator and printed the shirts myself. I was selling them by hand at skate parks like LSP and Spit and Sawdust in Cardiff. It was all done by me—from designing, to printing and even selling.How did you start getting commissions from other people?I reached out to places in my community that I was already connected with. One of the first was Gwdihw, a small jazz bar in Cardiff, where my flyer journey began. I also approached Cardiff Skateboard Club, who started selling my Handy merch. That was a big deal for me—seeing my stuff alongside brands like Independent and Spitfire. I also worked with Freestyle Newport and did posters for club nights like Talk to Frank and Polymer in Swansea. I just wanted to support local places that mattered to me. Working with people who I came from my worlds made the most sense as we understood each other without being lost in translation.Why did you move to London, and how was that experience?My partner at the time lost her job as a fashion designer in Cardiff, and there weren’t many opportunities there, so she wanted to move to London. I saw it as an opportunity to grow and be around more creativity, even though I wasn’t making much money at the time. I just took the leap, worked hard, and eventually made it sustainable. Looking back, it still blows my mind that I managed to pull it off.How did music influence your journey?Music has always been a massive part of my life. Growing up, I was always in bands with friends, playing local gigs at places like TJ’s in Newport. I was an emo kid, always in the mosh pit if not down at the skatepark. Later, I joined a band called Astroid Boys, which was more like a nu-metal/rap crossover. My parents were big into funk and soul, and that shaped my taste too. Music gave me a sense of community and connection that I carried into my creative work. I really think their passion for that music early on resonated with me and lead to my appreciation for music also.Did Cardiff’s music scene influence you in any way?Cardiff had a incredibly strong live music scene when I was growing up. There were also local spots like Clwb Ifor Bach and Bar Fly that fostered a tight-knit music community. Sadly, a lot of those places are gone now, but they were crucial to my journey.What inspired Handy to transition from being a skate-focused brand to a music-centered project?After moving from Cardiff to London, I made a skate video that featured an original track from Earl Jeffers. Although I was still selling to skate shops, the skate community around me began to thin out, and my interests shifted more toward music. My record collection was growing and I was mixing more and more and I was finding myself around the music community more often. Managing a skate brand by myself became tough, whereas music felt more manageable with a small team. It just naturally progressed that way.How did the first music release on Handy come about and how did the first few releases with artists like Adam Curtain, Bobby Casanova, and Retromigration come about?Handy001 started as a passion project with a friend I was living with at the time. I had been doing artwork for labels and collecting records, so I thought of trying it myself. The idea was to keep releases close to friends or music I genuinely loved. It felt like a fun project to work on and see where it could go. Most of the collaborations were with people I already knew through working on artwork or being part of the community. I was doing artwork for Adam Curtain's label, Troublemaker, and we became friends. I loved Bobby Casanova’s track and just reached out to him directly. As for Retromigration, I was doing artwork for his breakthrough EP with another label (Healthy Scratch Records). We connected after I moved to Amsterdam, and it turned out we had similar vibes.What's the concept behind the "naughty and nice" sides of Handy Records releases?It’s about giving artists a platform to explore their full range. Many EPs tend to stick to one sound, but I felt artists often had more to offer. So, we have the “naughty” side for club-focused tracks and the “nice” side for something softer or more experimental. It’s about allowing producers to showcase different shades of their creativity.What led to the creation of the sub-imprint Natural Frequencies, and how does it differ from Handy Records?Handy mainly leans toward house music, but I wanted something more club-focused and accessible after lockdown, which was a time of heavy music saturation and pressing plant issues. Natural Frequencies is more digital and club-ready, not meant to be as precious as vinyl but more functional for DJs. It has an abstract art direction inspired by natural aesthetics. The music itself feels more electronic but with a visual style that evokes something organic and earthy.How do you choose the artists for Natural Frequencies?Natural Frequencies has a broader scope compared to Handy. The first release was from Boulderhead, whose sound felt like a natural extension of Handy's style. Retromigration’s EP showed a different, more electronic side of his production. Marma is a friend from Amsterdam, and Kyra Khladi caught my attention after I attended one of DJ sets and was very impressed. The focus is on pushing fresh, club-ready sounds while still staying true to my taste and community.How did the latest V/A project "Keep It in the Family Volume Two" come together?The first "Keep It in the Family" was a collaboration with Shall Not Fade, combining both labels’ artists. For the second one, I wanted to make it more purely Handy. It features label regulars like Earl Jeffers, Retromigration and Cem Mo, as well as new connections like Zoeplar and Monty DJ. It’s all about working with friends and keeping the community vibe strong because that’s what makes it feel safe and supportive in the music industry.Can you tell us about your passion for collaborating, particularly your recent contributions to Patta’s SS25 collection and your role as an artist in residence in Patta Magazine Volume One? How did these collaborations come about, and what was your creative process like?My first connection with Patta was through Lee Stuart, the former brand director, when I was living in London. In 2021, he messaged me on Christmas Eve, asking if I’d like to work on an upcoming collection themed around ska music. I created some graphics for it, but they didn’t make the final cut. Later, when I moved to the Netherlands, I got back in touch with Lee, and he was super supportive. He even helped me out with some trainers from the shop and introduced me to the right people, which really helped me get established in Amsterdam.After that initial collaboration, how did your relationship with Patta develop?After the ska collection didn’t come out, I became the artist-in-residence for Patta Magazine Volume One. That opened up more opportunities, like making posters for Patta x Nike collaborations and further partnerships with the Amsterdam based brand. Around the same time, Lee also involved me in an exhibition called "We All Need Rest" at OSCAM, where I presented two pieces focused on burnout and self-care. One piece was called "Burning the Candle at Both Ends" and the other was a depiction of self-care, with a bonsai tree and a watering can symbolizing nurturing oneself.How did it feel to be a part of that exhibition at OSCAM?It was an honor, especially as an expat in Amsterdam, where it's not easy to build connections. OSCAM is a community-driven space, and being able to showcase my work there was amazing. The exhibition wasn’t just about art on walls—it was an immersive experience, with live meditation sessions and a real sense of community.Your work has also made its way into fashion through your brand Handy and collaborations with Patta and other brands.How do you approach fashion projects differently compared to your illustrative work?I approach these projects differently because fashion is a physical medium. Seeing my artwork on clothes, windows, or even keyrings feels more tangible than digital art, which often just lives on a screen. I love working with big and small brands alike, as long as they believe in my vision. It’s about creating something lasting that people can wear and experience in real life.You mentioned feeling frustrated with the relationship between art and algorithms. Can you explain that a bit more?Art has become so tied to digital spaces that it feels like we’re creating just to feed algorithms. It’s exhausting and takes away from the essence of making something meaningful. I’m drawn to physical mediums because they feel more genuine. This year, I’m hoping to do more graffiti, painting, and workshops—just getting out there and creating real connections with people.How do you see fashion as a medium for art compared to digital spaces?Designing for print is rooted in authenticity because it’s tangible. You’re not just fighting for attention on a screen. Instead, people choose to wear your art and support you directly. I respect how PA does it—they turn their store into an art space, showcasing work on windows, clothes, and even inside the shop itself. It’s like stepping into a world that represents your art.You’ve also been involved in events like Lost Groove. Can you tell us about that project and what makes it special?Lost Groove is a club night I started, and it’s all about creating a space where people can come together, enjoy music, and just vibe. It’s a reflection of my love for music and community. I’m really excited to bring it back in 2025 and keep building that atmosphere where people can feel at home and just be themselves. Lost Groove actually began as a collective of four people, including myself and Retromigration. It wasn’t about making money—we just wanted a platform to share the music Retromigration makes and Handy releases, and to invite friends to play. We still don’t take money from it; we just reinvest in the party when we can afford it. We split from the original collective and carried on with the name, sticking to our vision of honest parties with good music, good people, and good vibes. What can we expect from the next Lost Groove event?The next one is going to be really special—probably as big as our legendary New Year’s party. This time, we’re collaborating with Suckerpunch Records, run by Papa Nugs, who’s killing it right now with his fun, party-centric sound. We’re also bringing in A for Alpha from Bristol, who’s not only an incredible DJ but also a passionate vinyl digger who never gatekeeps music. She’s someone who truly loves and respects the scene, and I couldn’t be more excited to have her on board. It’s happening on King’s Night, April 25th, at Doka—a venue known for its iconic 4-point sound system.  You mentioned earlier that Lost Groove isn’t about making money. How do you balance passion with financial sustainability?It’s tough, but we stick to our principles. We’re not in it to make a profit; we’re in it to build community and celebrate the music we love. If I walk out of a night and haven’t made money but had a good time, that’s fine by me. It’s about creating a space for people to enjoy music without the pressure of commercial gain.  Its important to me to have a space which champions sharing music. I think gatekeeping is selfish. If someone comes up to me asking for a track, I’ll take their phone and snap a pic of the track title. It’s not my music to hoard—it belongs to the artists who made it. Sharing track names could even help get those artists paid someday. Gatekeeping stops the wheel from turning and keeps music from being appreciated and enjoyed by a wider audience.  You’re a multidisciplinary creative—art, music, and more. How do you see these different creative expressions connecting, if at all?  To me, art dresses music, but they’re separate. There’s a blurred line between them, and it really depends on how much the creator values the visual aspect of their work. I think visual language is crucial, whether it’s music, food, or anything else. It gives identity and context, but not everyone sees it that way.  Looking back, what advice would you give your younger self, skateboarding at 17 and dreaming big?Chill out. Seriously, nothing is as deep as you think it is. Keep your head down, stay true to yourself, and don’t worry about what other people say. Everyone deserves a space at the table—it’s just about finding yours. Don’t chase trends or other people’s approval. Focus on what you love, and the right people will find you.  Finally, is there anything exciting coming up that you’d like to share? Definitely. I’m working on a collaboration with Wax Poetics called the Collector’s Edition, which is about creating collectible items—not just editorial pieces but physical, tangible things. I’m really excited because it’s something I’ve never done before. It’s a new challenge, and I think people are going to love it.It’s clear that James Lacey is driven by more than just creative ambition—he’s fueled by a love for community and genuine connection. Whether he’s screen-printing t-shirts, spinning records at Lost Groove, or crafting album art that tells a story, Lacey’s work is grounded in passion and purpose. His journey from Cardiff to Amsterdam isn’t just about getting caught up in the rat race—it’s about people, friendships, and staying true to what matters. Lacey’s story is a reminder that creativity isn’t just about making things—it’s about making spaces for people to come together and share what they love. Whether through music, art, or the simple act of putting on a great party, he’s all about fostering a sense of belonging. So next time you’re at a Lost Groove night or rocking a Handy tee, know that there’s more to it than meets the eye—it’s built on heart, hustle, and a whole lot of love. 

Maha Eljak Launches the Second Edition of Mahazine: Art as a Form of ResistanceMultidisciplinary artist Maha Eljak is set to launch the second edition of her self-published DIY zine on February 25, and it’s one you won’t want to miss. Titled Art as a Form of Resistance, this issue continues the journey of a project that started as an overblown school assignment in 2021, sparked by frustration with the one-dimensional portrayal of Black Muslim women. What began as an artistic protest against the mainstream narrative has evolved into a powerful platform for Maha to reclaim and center her own voice, presenting her identity on her own terms.The result is nothing short of a creative explosion—a zine packed with vibrant collages, stories, punk influences, poetry, interviews, and photography. Maha’s art challenges society’s assumptions, raises awareness, and, most importantly, encourages others to look beyond surface-level perspectives.From School Project to Creative MovementWhen Mahazine first launched, it took the world by storm. The first batch of Mahazine 1 sold out within two days, leaving readers hungry for more. Now, with Mahazine 2, Maha brings a more mature version, offering even greater depth, reflection, and insight. This edition dives deep into the themes of politics, identity, punk culture, and the fashion industry, all wrapped in the aesthetics of 70s and 80s punk zines, with a dose of her Sudanese roots.By blending these diverse elements, Mahazine becomes more than just a publication—it transforms into a tool of resistance, demonstrating how art can challenge the status quo and provide an authentic space for voices often excluded from mainstream narratives.Why Mahazine Matters: Reader ReactionsThe impact of Mahazine is palpable, with readers praising the zine for its power to break through societal bubbles and offer a fresh perspective. One reader shared:"What I feel after reading Mahazine is just how important your zine is and how much we need more zines like this in the Netherlands. Or rather, we need your voice; it’s invaluable in journalism and art because it enriches perspectives. It’s crucial because Mahazine breaks through bubbles. It brings stories to light that often go untold, offers perspectives outside the mainstream, and gives a voice to experiences overshadowed by dominant narratives."The zine is not only a source of information; it’s a bridge between two worlds—those who live in privilege and those fighting for more diversity and inclusion. Mahazine serves as a reminder that, through art, we can inspire change, challenge the norm, and find strength in authenticity.Another reader expressed the hope that Mahazine instills, saying:"It’s a reminder that change is possible and that every voice can make a difference. ‘Art as a Form of Resistance’ shows that not fitting into norms or conventions isn’t a weakness but a source of strength and authenticity."Join the Resistance: Release Party at ParadisoTo celebrate the launch of Mahazine 2, Maha Eljak will host a release party on February 25 in the Upstairs room of Paradiso. This is no ordinary event—it’s an immersive night of culture, entertainment, and resistance. Expect poetry readings, live bands, inspiring guest speakers, and, of course, delicious food and drinks.And here’s a spoiler: The evening will be filled with Sudanese culture, so get ready for an unforgettable experience. Whether you're an art lover, a punk enthusiast, or someone simply looking for an evening of inspiration, this release party promises to deliver.

Farida’s work doesn’t just engage; it rallies while exploring intersectionality and the influence of monetary economics, heritage, and politics on the future of globalism and community life. Hip-hop, punk activism and social care are all themes the acclaimed multi-disciplinary artist puts on wax via screen prints, textile art, murals and beyond. Her label HOSSELAER (est. 2008) has collaborated with Patta and Junya Watanabe, while her oeuvre includes a partnership with Emory Douglas, artist and former Minister of Culture for the Black Panther Party, in collaboration with HipHopHuis Rotterdam and work for Stedelijk Museum Amsterdam. Farida also recently designed a beautiful book and the visual identity for Our Colonial Inheritance at Wereldmuseum Amsterdam, where her art installation occupies an entire room. As the newly crowned winner of the Amsterdam Prize for the Arts - Work of the Year for her solo show and art market People’s Forum, Farida levelled the field, bum-rushed the show and won big. For those usually left looking up. For the underdog. For the arts. For the people.DOMINIQUE NZEYIMANA: Cover girl!FARIDA SEDOC: “A 44-year-old cover girl! Nice!” (laughs)

DM: Congratulations on your major Amsterdam Prize for the Arts win! I’d love to talk about the process behind People’s Forum, your now award-winning exhibition. I witnessed first-hand how fantastic it was. How did you land on wanting to do it and when did you start building it?

FS: “Some years ago, I had a conversation with Fadwa Naamna, an artist and curator living in Amsterdam. We’d worked together on an exhibition at the Stedelijk Museum Amsterdam. During that time, we talked about W139 - the independent art space squatted in the ‘80s by artists looking for alternatives to the traditional art world. W139, much like major institutions such as the Rijksmuseum or the Stedelijk, is often debated in the Dutch art scene, especially when it comes to its funding and future. The Netherlands has this unique, discourse-driven subsidy system free from commercial influence that supports critical thinking. W139 was on shaky ground financially around then, as Fadwa and I discussed alternative ways to sustain such spaces. The concept of organising a bazaar came up and I suggested an art market where artists could sell anything they wanted, not just their work. The idea clicked, and Fadwa invited me to develop it further when she joined the artistic team at W139. Initially, we planned it for 2021, but the pandemic delayed everything. A couple of years on, we set a date for late 2023. Working with W139’s new team and co-curator Claudio Ritfeld, we started drafting budgets, securing funding and coordinating logistics together with technical and supporting staff. It was a long road. In the Netherlands, curators often have to source their own funding instead of working with a pre-approved budget. It makes the process complex. It’s like: ‘Hey, do you want to do an exhibition?’ If you say: ‘Yeah!’, they reply with: ‘Oh, also, we don’t have any money.’ (laughs) And then if you’re still up for it, you start building a case to get funding.”Photographed by Pieter Kers, W139, 2023, Exhibition People's ForumDM: That takes a lot of faith!

FS: “Of course, you get some money while you’re working on your bid. But it does highlight the vulnerability of the art world. Institutions might provide a buffer but for artists, financial uncertainty is constant. It’s a system that often limits opportunities to the privileged few. After months of development and waiting, we finally secured backing from sponsors. So, after the 2022 group show Non-profit At All Cost I curated at NEST in The Hague, I was officially invited to do my first institutional solo show at W139. I wanted it to serve as the backdrop for a public programme that could engage wider audiences beyond the art world – a decision that also tied back to certain funding requirements. The market became part of this programme, spanning two weekends. Half the vendors were people we know and the other part was curated through an open call. They joined us, offering everything from independent magazines and music to clothing, crafts and handmade goods. Athenaeum Boekhandel hosted a pop-up, vinyl sellers brought their good shit and local artists added something unique. Artist advocacy group Platform BK had an office-in-residence. We also hosted workshops every Friday to help artists professionalise their artistic practices. These sessions covered everything from navigating contracts and understanding AI to owning your rights and working with digital art. Lawyers with art backgrounds guided participants and answered questions. For me, it wasn’t just about the market but about creating a space where artists could experiment, collaborate and exchange. The collectivity of it all was powerful.”DM: How did you approach the Farida Sedoc - Solo Exhibition part of it? 

FS: “I was working on what I love most: screen printing. I had been collecting images and when I thought about the huge space at W139, I initially wanted to make large works that would have an impact. But creating several big pieces wasn’t doable time and budget-wise, so I decided to make about 40 smaller works instead, hung in a single round-about line as one cohesive series. I also want to add that the graphic design and spatial design was done by Heavy Bones, and the success of the show as a whole was greatly impacted by this. It allowed me to focus on the story I wanted to tell rather than being overwhelmed because I had to fill the room. I also love doing research, so I set out to explore feminist archives. But the pandemic made access difficult. Instead, I went to my mom’s house and found a trove of books and self-published ‘80s magazines. The themes were still deeply relevant today, so I took pages that caught my eye and used them to create new prints and collages. One moment that stood out was finding old newspaper clippings about my father and my mother’s university friend. It highlighted the importance of migrant communities documenting and sharing their own stories, rather than having them told by others. This inspired me to create works that imagined new futures while building on past stories - a way of reflecting on our own narratives and shaping what’s to come.”

DM: What was the most important takeaway from the overall experience?

FS: “People’s Forum proved that it can be whatever you want: selling your art, the cookies you baked or even clothes left lingering in your closet. Artists have many facets. The beauty was that you weren’t forced to sell your art, if you made the best hot chocolate in Amsterdam, you were welcome to sell that. It forces you to reconsider what defines your practice and how you want to make a change in the world. At its core, it was about sharing resources and challenging the exclusivity and pretentiousness of the traditional art world. It responded to the idea that artists must follow a set path: go to art school, land a gallerist, make work in a studio and then let the gallery sell it. But that’s not the only way. People’s Forum showed there are many paths to success and no shame in a non-linear journey. The market also brought accessibility to the conversation. Artists reserved tables for 25 euro and sold whatever they felt like, with some making 600 euro, enough to cover their rent for the month. How great is that!”DM: I love how you have this introverted energy that I completely relate to, but yours almost always gets overruled by your care for the collective. FS: “I, myself, love working alone. I’ll be in my studio, minding my business, chugging away. But when I’m ready to step outside, a lot of my work is about shared energy. Not everyone is entrepreneurially inclined, yet the system often demands it. People’s Forum is a DIY approach to the art world system but with a collaborative spirit. Instead of DIY it became DIT, ‘Do It Together’. The Amsterdam Prize jury and the city saw it as something wild and impactful.”DM: So, where do you want to take your work next and what about HOSSELAER? How do you sense when it’s time to tap back into your brand?FS: “Well, it’s more practical. Whenever I have an exhibition, I create HOSSELAER merch, like a T-shirt capsule. It’s always tied to the show and when people are excited about the exhibition but perhaps not yet familiar with my work, they want something to take home. A T-shirt becomes an accessible way for them to connect with the exhibition without necessarily having to buy a piece of art. It’s also a way to communicate the message or context of the show in a simple, affordable format. I also enjoy doing collabs, but not by directly linking HOSSELAER with other brands. Instead, I’ll design T-shirts on commission. Like when I worked with Patta, they reached out and asked: ‘Hey, would you like to design a T-shirt for this project?’ and I said: ‘Bet, let’s do it!’ These collabs are more project-based. Of course, I’d love to keep doing this, but I’ve come to terms with the fact that it’s not my core business. That was hard to accept at first, but I’m okay with it now. Sometimes, I think about improving the quality of the T-shirts. For instance, on a random Monday night, I’ll go: ‘We need to step up the quality’. Recently, my studio mate made a really nice T-shirt and I was shocked by how good the fabric was. I yelled: ‘What is this?! I have the same supplier, but they never sent me these!’ (laughs). Then by Wednesday, I’ll have forgotten about it and three months later, it’ll pop back into my head. My neighbour says, at this pace, I’ll have a successful T-shirt business when I’m 80. Which is fine by me. Hopefully, I can keep collaborating - whether in fashion or another field - and maintain enthusiasm for the creative process. I’ve seen too many artists lose that passion over time, for various reasons, and it’s such a shame. Whether the work is big or small, I want to keep that fire close to me. It’s about having something to say, staying connected with my medium and finding my tribe. That’s what I strive for - to stay true to my art and continue to express myself in ways that resonate with others.”Photographed by Peter Thijhuis, Stedelijk Museum Amsterdam, 2020, The Future Ain't What It Used To BeDM: What’s next? I know you want to retreat a little bit, but momentum is also a real thing. 
FS: “What’s most important for me is that, as an artist, the focus stays on the work. Once your attention shifts to everything around it - negotiating contracts, dealing with different departments, making videos about the project or talking about it - then the quality of the work itself starts to suffer. That’s why I don’t say no just to say no - I do it because I need to stay sane and capable. I need time to sleep well, be able to get out of bed, not burn out and approach projects with the right energy. Whether I’m happy, pissed the fuck off or somewhere in between, I still have to be motivated to create. And that’s where I’m at now. I want to make space for that, and the prize gives me that freedom - to take time and develop new work. Even though I do have exhibitions lined up for 2025, I’m prioritising that deeper engagement with my practice. As for other goals: a solo expo internationally would be cool.”
DM: Any specific museums you have in mind?
FS: “I’ve learned to go where people understand my work without much explanation. In independent, experimental spaces, there’s genuine respect, and people get the work for what it is. That’s where I feel most at home. The gallery world is still new to me, and I’m exploring it to understand what production and storytelling mean in that more commercial setting. I want to dive deeper into that context. Sometimes I feel I may be overthinking it, but it’s a process and I’m open to seeing where it leads. Some of my friends will say: ‘Money is nice, Farida, it’s really fun to have. You don’t have to make it so complicated. Just create something, and then the gallery will sell it.’ (laughs) I’m still figuring out what that balance looks like for me. And finding a good gallerist is almost like finding a lover. You can’t force it.”Photographed by Goedfolk & Charlotte Markus, Nest Art Space, 2022The gallerists I know work so closely with their artists. They call them almost every day just to talk about what’s on their mind. It’s like a marriage. I don’t think I could take on a second husband or wife like that. Speaking of love: the night you won the Amsterdam Prize for the Arts, my IG feed was full of Farida, which was the best. Everybody was rooting for you. You were in a category with Steve McQueen. How do you look back on that moment? FS: “It was amazing to win a prize from the city and the people of Amsterdam, not just the art community. The recognition felt good, especially knowing a lot of this year’s winners were underdogs who have been at it for years and kept pushing against all odds.”Photographed by Goedfolk & Charlotte Markus, Nest Art Space, 2022DM: How did your family react? FS: “My dad is proud. My mom was at the ceremony, and brought along a bunch of elders. They were drinking wine and having an excellent time! (laughs). My daughter and my partner were with me, as were my little niece and my neighbour’s kid - they’d never been up that late. Our crew was rolling 20 or 30 deep. All the nominees were smiling big at the cameras. Everyone wanted that grant! My fellow nominee Ena, who’s won a bunch of Golden Calves (the award for the Netherlands Film Festival), told me backstage that she knew I had this. When they announced People’s Forum as the winner, everyone screamed as loud as they could. It was a great night.”The Patta Magazine Volume 4 will be included for free with each online order of the Patta Angelwings T-shirt while stock lasts.

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The exhibition BECOMING AND BELONGING marks twenty years of friendship and community, synthesized in the brand Patta. The label's founders Guillaume - Gee - Schmidt and Edson Sabajo met in the '90s in inner-city Amsterdam, against a backdrop of subcultures that would shape their identities and lives

In today's society and with a somewhat familiar yet sinister outlook on what's to come, countercultures bring light into the darkness; with liberated ideas, styles, and opinions—freed from gender binaries and conservative norms of societal constructs. Fluid, so that identities are an ever-changing e

The weekend of July 5, 6, and 7 will be dedicated to the House of Artistry Fair, a recurring event series organized by Sankofa Archives in collaboration with Kazerne Reigersbos. This three-day series offers a varied program that brings together art, culture, and knowledge on social themes at various

Saturday, June 8, OSCAM, along with Café de Duivel, Patta and our beloved Amsterdamse Poort, are hosting the legendary Hell’s Kitchen Block Party right outside OSCAM’s door. Head here to sign up to attend this weekends hottest party!

Patta is back in the city of lights and this time, we're bringing the noise to Paris Fashion Week like we never left. Log in and lock in as we take over the airwaves with a special radio broadcast in collaboration with Converse and Oroko Radio bringing together our community of musicians and selecto

We will be hosting an event during Milan Fashion Week at L'altro Tramezzino , at Via Lupetta 5, just a few meters from Patta Milan on Tuesday, September 19th from 19:30 until 22:00. L’altro Tramezzino established itself in Milan (Duomo area) with the aim of introducing the Venetian experience of a d

Artist Maha Eljak 's latest exhibition, ' A Glimpse of Us, Marhaba ', is set to be a highlight of the year, brought to you by OSCAM. After only five years away, Eljak returned to her homeland of Sudan in the summer of 2022, armed only with a notebook and a camera. She aimed to live in the moment and

Watch the official music video for muva of Earth - High

Victor Lope Gallery is pleased to present 'Complete Compassion', the first exhibition in Spain by the multi-talented Amsterdam-based artist Paul du Bois-Reymond (Berlin, 1974). Coming from the world of graphic design, du Bois-Reymond studied at the Rietveld Academy of the arts and made his name with

Patta and Lynk&Co vision is bigger than just mobility. Join us on a trip to the artistic heart of the city to visit Hama Gallery and discover a new way of looking at art. Let Nina take you on a journey to unveil beautiful stories and learn how to be part of a community.

The #ALLCONNECT documentary showcases not just the intent behind this cultural collaboration and highlights key moments with London’s Izzy Bossy and Julie Adenuga who discuss the impact of African music on London culture and how it’s celebrated nationwide. Atlanta’s Love Renaissance (LVRN), a black-