Bouffant Headbutt by Shampoo is a glorious piece of pop. It’s a snotty, sneery punk anthem – 2 minutes 11 seconds of perfect attitude. it was released in 1993 on the frankly too-cool-for-school Ice Rink label.
Now you’ll feel our bouffant in your face
(Bouffant Headbutt by Shampoo)
It’s also the first time I came across Jeremy Deller. He took the live photos on the single’s sleeve. He may have designed the Dolly Bird T-shirts they’re wearing; he produced designs for Covent Garden shop Sign of the Times, and a number of pop stars were caught wearing them. I’m fairly certain he was hanging around some of the same bars and clubs as me – Where’s Jude in Farringdon, Blow Up in Camden and Soho, the Good Mixer in Camden. Those were heady days; late nights, early morning trains, a buzz that wasn’t just chemically induced, a sense of urgency, excitement as the people we danced with at night made it onto Top of the Pops or into Face and i-D.
Those years in the mid-90s were reminiscent in more than just sound and style of the classic years of British pop. And Jeremy Deller’s always been into pop, a cultural archivist as much as an artist: Brian Epstein, David Bowie, Morrissey, Bez, brass bands playing acid house, Keith Moon and posters of Kate Moss.
Shampoo – two teenage girls with attitude and pretty popstar boyfriends – fit perfectly into that tradition. They even ran the Manic Street Preachers fan club, and Deller produced The Uses of Literacy, an entire collection of work inspired by those fans. And Unconvention, an exhibition which he imagined the Manics had curated, too.
I’d like to be a gallery
Put you all inside my show
(Andy Warhol by David Bowie)
Deller brought music and art together even further, producing posters imagining Keith Moon having a retrospective at the Tate, turning song lyrics into scripture, imagining the baggy scene coming to the Hayward Gallery, a poster given away at Frieze asking ‘What would Neil Young do?’. Posters and prints are a perfect pop medium, and they’re something Deller’s returned to over and over. Fast, out there in public, easy to produce, and ephemeral.
They’ve been an important part of what I do, too; a minor obsession started because my first real job was producing and distributing posters for the Connaught Theatre. I’ve still got some of those; classic designs, elegant typography, ephemeral. Since then, I’ve produced posters to mark projects and actions; a set of three screenprints for Worthing Pier, a dozen designs for Bedford Happy, posters for Face Up! so good they all get nicked.
So Jeremy Deller coming to Margate feels like an interesting collision, my mid-90s life catching up with where I am today as an artist.
Art isn’t about what you make but what you make happen
I’ve spoken on the Social Art podcast about Deller’s work, and referenced him in various talks and workshops. I think our work as social artists is similar; unsurprising as we come from very similar starting points; music, collaboration, pop, and people. So, a couple of times when working on projects or in different places I’ve found myself wondering ‘What would Jeremy Deller do?’
That, and his visit, felt like something that should be marked by a poster. A limited edition, well printed, but given away and produced as a piece of public art. And nickable – it had to be nickable. Something people would steal and take home for their wall.
So the two have come together in my artwork for Margate, produced as an edition of 100, printed in heavy black on dayglo paper. Drawing pinned to walls, stuck up in shops. Find one, it’s yours.