GAIKA is an artist, musician and writer based at Somerset House Studios.

The first major work I encountered by him that lifted and moved me was SYSTEM, a pulsating, flickering, interactive shrine, a call and response and homage to the cultural impact of Notting Hill Carnival.

I love the intensity of his live performances and his attentive, brooding vocals and haunting soundscapes. GAIKA’s astute and unwavering commitment to addressing blackness, immigration and the brutal hypocrisy and constrictions of our political systems resulted in commissioning his work Heaters 4 the 2 Seaters for the 2019 exhibition Get Up, Stand Up Now: Generations of Black Creative Pioneers.

His uniquely dystopian, poetic vision and ability to shape-shift between art forms and contexts also made him the perfect fit for Somerset House’s annual outdoor commission 100 Names of God: Hymns from the Spectacular Empire - an audio-visual light-fest for the senses, ice-skaters and wider community.

GAIKA’s work punctures a membrane between spirituality, activism, and popular culture.

Photograph by Emanuel S

GAIKA, born Gaika Tavares, is a musician known for his futuristic beats and conceptual art. Born in London to parents from Grenada and Jamaica, he has forged a solo career as one of the leading voices in British rap. He previously described his interactive sculptural work Heaters for the 2 Seaters as a "technologically-advanced superior-premium-reaganomic-multisensory mixtape for air-borne professionals who like John Woo and promises every attendee will get a glass of Cristal."

What are you doing, reading, watching or listening to now that is helping you to stay positive?

I'm just making a lot of stuff, so I don't completely lose the plot - so I'm not really consuming much music outside my own.

I did listen to Mother by Goldie on repeat for a bit and S.O.S Band Sands of Time is on heavy rotation on my system.

I'm drawing odd organic things with no conscious purpose.

I'm watching a lot of very nerdy music gear videos fantasising about my post-Covid beachside studio situation.

What are you working on and how has the lockdown affected your ideas, processes and chosen medium?

I'm working on a number of different things; a big audio-visual broadcast installation work, a Zoom party series, an essay film, various remixes and a sound sculpture work.

I struggle to work at home, but I've managed to build a control centre in my living room and crack on.

Image courtesy of the artist

What do you usually have or need in your studio to inspire and motivate you?

I need peace and quiet, so I usually work in the dead of night like some sort of traphouse vampire.

What systems, rituals and processes do you use to help you get into the creative zone?

Something I call "two-wheel dérive" - I go for a random cycle in the day just orienteering around without the use of a map, taking it all in for a bit.

What recurring questions do you return to in your work?

Are we living in an elaborate simulation? Am I really sorry for breaking your heart? When does the rioting start?

What do you care about?

Everyone I have ever met.

What risks have you taken in your work that paid off?

I think not sitting in the comfort of expectation that comes with one form of success has been a risk worth taking.

I entered the music world with a background in visual art and regardless of the success of my records, I still felt compelled to continue that journey as an artist

Ploughing forward into new territory more based in structure and mixing that with video and music work could have failed spectacularly. At first, I battled with a certain amount of imposter syndrome.

Seguridad: Cash Fractals 01, 2020, Strange Edition, New York, Photograph: Guarionex Rodriguez Jr

What risks have you taken that perhaps did not go so well but you learnt the most from?

Honestly, I think my vocal political musings have a detrimental effect on my career. I think people often turn to music for comfortable, easy answers or diversions.

This is rarely something found in my work directly, as I aim more often to ask mortally difficult questions.

I won’t play the game, I won’t separate my art from myself for any reason and I think this is a risky strategy in the era of artistic commodification across disciplines.

I think I am, above all, an authentic person. In hindsight, I think there is, and was, a naiveté in thinking that I could engage with certain entities considering the politics of today, barefaced, without strife.

Seguridad: Cash Fractals 01, 2020, Strange Edition, New York, Photograph: Guarionex Rodriguez Jr

What is your favourite exhibition, event, or performance you have participated in and why?

My favourite thing is always the last thing I did. I recently debuted a show in NYC called Cash Fractals after a three-month residency. It was a mixture of processed video, generative sound, and performance. I hope we get to do it again somewhere.

What would you hope that people experience from encountering your work?

My works are largely considerations of psychogeography, morality, technology, memory, and emotion.

I want people to get truly lost in the worlds I build, and for that journeying to trigger internal investigations beyond the moment of encounter.

Seguridad: Cash Fractals 01, 2020, Strange Edition, New York, Photograph: Guarionex Rodriguez Jr

Could you tell us a bit more about at a time when you felt stuck and what you did to help yourself out of it?

I always juggle different projects at the same time, to avoid feeling creatively stuck in one place although I do tend to hyper-focus on work to the point I can't sleep.

Recently I just felt overwhelmed and despondent by everything that’s going on. I thought I’d do some aerobics and ended up in a hole of Billy Blanks Tae Bo® Fitness videos online.

I sampled the (fire) music and then and took up skipping on my porch for a bit instead. Seemed to do the trick.

Image courtesy of the artist

What kind of studio visits, conversations or meetings with curators, producers, writers, press, gallerists, or collectors do you enjoy or get the most out of?

For me studio visits from people who have been traditionally excluded from the art world by circumstance are the most rewarding.

Gallerists or curators that facilitate these sorts of experiences are worth their weight in gold.

If you work with a commercial gallery / agent / label how does this relationship affect or inform your work and life? hat emerging artists are you excited by right now and why?

I think this is a hugely important relationship, your representative can shape your career and therefore your life with the choices they make.

I've always tried to make sure that everyone I work with in terms of sales is aligned with my creative visions, or artistic ambitions

Otherwise, the relationship is totally pointless. I'm very hands-on with the commissioning process so there are no gaps in communication.

I always try and make sure my agent also knows the materiality of any planned works and the detailed technical capabilities of my studio.

Do you have a trusted muse, mentor, network, or circle of friends you consult for critical feedback?

Muse? As cliched as it is, I am very much inspired by relationships past and present. Romance is how and where I anchor memories and contextualise more intricate political philosophies.

In terms of criticism I've got some really good people I look to, in order to tell me the raw truth, as they see it. It's not always advice I follow though, but it does definitely help.

I'm blessed in never really feeling shy in sharing unfinished work or protective about it in in anyway, as I don't think anything I do really matters like that.

I'm always sending my people demos and sketches, I suppose its cathartic in a way.  They say it's difficult to keep up and weird especially as I rarely revisit my own work once it's finished and out.

My circle is super diverse but most of them aren't people the outside world would consider artistic peers. I think it’s difficult to get or give objective criticism if there’s any element of competition.

Also, a lot of my circle take it upon themselves to archive my work as they know I won’t, I’m glad about that. For me, it’s always what’s next....

Photograph by Emanuel S

Which artists or creatives do you feel you’re work is in conversation with?

Torkwase Dyson, San Yuan and Peng Yu, Hassan Rahim, Dean Blunt, RZA.

How do you make money to support your practice?

With great difficulty currently, I only make cash directly from my practice.

What compromises have you made to sustain your practice?

I've definitely made compromises in terms of my physical and mental wellbeing by constantly working.

What advice would you give your past self?

Respectability Is Immaterial.

Can you recommend a book, film, or podcast that you have been inspired by that transformed you're thinking?

I can recommend a few books:

Judge Dredd: The Complete Case Files; The Designer and the Grid by Julia Thrift and Lucienne Roberts; The Bed and Bath book by Terence Conran and Journey to Nowhere: A New World Tragedy by Shiva Naipaul.

Follow GAIKA @gaikasees or visit www.gaika.co  @warprecords @somersethousestudios

 

Please share this interview

 

 

And do feel free to email or contact us via socials @cerihand

Coming Next...

Another refreshingly honest interview with Eleanor Moreton, a London-based, prolific painter, who has exhibited internationally in public and private galleries and at art fairs...