Photographer gets under the skin of Clapham High Street's Jekyll and Hyde character

This uninspiring photo of Clapham High Street is by me: to see this much-maligned thoroughfare in a totally different and much more interesting light, check out Jim Grover's photos on the BBC Online site or better still get along to his exhib-
ition at the Omnibus Arts Centre in Clapham, April 3 - 20

Thanks to photographer Jim Grover, the south London Babylon otherwise known as Clapham High Street is being shown to the world in all its glorious ghastliness - and even a bit of unexpected beauty -  on the BBC website.

 Jim Grover's amazing photo essay has been chosen as this week's  BBC Online"Picture This" feature  - a few days before the photos go on show locally at  Omnibus (the arts centre in the old Clapham Library building on Clapham Common northside).

Jim hit on the brilliant notion of treating his subject, rather like Hieronymous Bosch, in two parts - heaven and hell, and photographing them differently, one in colour, the other black and white.   The division is between night and day - cleverly working on the split personality of this singularly unattractive thoroughfare.

And he works some real alchemy with his camera: sometimes it looks almost beautiful, sometimes as sordid and threatening as a Mean Streets era New York. The real stars of the show, however, are the people, and thankfully there's hardly an upturned-collar rugger shirt in sight.

His daytime shots beautifully capture a suburban world of shoppers, street cleaners, mums, kids, shop keepers, rough sleepers, pensioners, commuters, itinerants; the same old Clapham set. These photos are all in colour, and are all taken on the south side of the street.

The nightlife shots are all black and white and are all taken on the north side of the street, focusing on the true inferno of Infernos, the notoriously tacky night-club, and that strip of bars leading down towards Clapham North. You don't get too much sense of the literal tackiness of this street on a busy summer night, when your shoes can stick to a pavement awash with puked-out Baileys, half-digested kebabs and a mixture of human and canine urine.

Generally he's very kind to Clapham - he doesn't mock or caricature it, and the yuppie-buppie-yummie-mummy-rugger-bugger set don't get too much of a look-in. They tend not to use the thoroughfare that much anyway, in my experience, sticking mostly to the "Old Town" area of max wealth, the plus Venn Street and the pubs around Clapham Common tube station when there are big matches on.

Jim Grover makes gold out of the base metal of this conflicted bit of Lambeth. There are many beautiful photos, even on the BBC site: I am eager to see more at the exhibition.  Favourites so far include some of the long-term shopkeepers and some very atmospheric shots of made-up revellers, and of my favourite bit of the street including the old Greek restaurant (Sappho) and that strange mystical charity shop.

I'm looking forward to seeing these pics at the Omnibus - especially as I have been trying to do something similar in words for years, and failing.

For as long as I can remember the authorities have been trying to clean up and gentrify the high street, to make it more yuppie-friendly. I remember when the Sainsbury's opened on the site of the old bus depot (and later, British Transport museum) - when, for a while, people thought this might be the beginning of an invasion by upmarket retail "brands".

Thank God, it never happened!

Instead it remains as scuzzy as ever, even after the building of that posh new library and health complex with its classy (but vandal-friendly) Andrew Logan artwork spelling out "LIBRARY".

As Jim's photo essay confirms, Clapham High Street remains a real Jekyll and Hyde of a street, a bit down at heel during the day, and an all-out alcohol fuelled war-zone every Friday and Saturday night.

It's rather quaint and old-fashioned in its way. It has nothing to do with the world of cool, arty nightlife so highly prized in places like Shoreditch and Dalston and Deptford and Peckham. It is totally uncool, unfashionable, and un-smart. And yet it remains incredibly popular, mainly it seems, for the kids from the further-out south west London suburbs. In short, it's a rite of passage place for kids with fake IDs.

They come to get hideously drunk in the bars here, they hope to pull, but most seem just to wander up and down in groups, vomiting occasionally, and shouting loudly to each other (I heard one say last week, "Guys, I really have to take a shit right here right now") - before tapping their phones to rustle up some sort of Uber car to take them back to dad's post-divorce black-leather-lined bachelor pad in Putney or Purley.

But, like so many other of London's suburban high streets, the real boss here is the traffic. Like the A23 through Brixton and Streatham, this is a trunk route, combining both the A24 as well as the A3. It is just too big a road to tame.

The pedestrian crossing lights are some of the most ruthless anywhere in London - you get half way across and they start blinking at you. Impatient drivers in their white vans, Audis and Aston Martins - they are  all in such a hurry. You run the last yards and off they go, heading perhaps for lovely gated homes in Nappy Valley, or further out, in Surrey and Hampshire. Heading north, they're looking for posher places to spend their bankers' wad of an evening.

They don't care that they are on Clapham High Street.

But there I go, fantasising again. See the reality of 48 Hours On Clapham High Street in Jim Grover's great exhibition at the Clapham Omnibus, April 3 - 20.

Dear dead Derek Jarman, how much we need you now

A review of an exhibition by - of all people, Brian Sewell - hit me hard in the stomach with the realisation that next week it will be 20 years since Derek Jarman died.

As a gay art historian who knows everyone in the art world of London over the past 70 years,  Sewell is a perfectly valid reviewer of this anniversary exhibition - Derek Jarman: Pandemonium - at King's College, London University - where Jarman was a student, way back.

Odd to think he started out in 1962 taking a BA General in humanities.

King's describes it as an "immersive exhibition that celebrates the life and work of this truly innovative and multi-faceted artist" With much trepidation I starred to read the review, sensing that Sewell, of that pre-gay generation of gentleman homosexuals, was chalk to Jarman's extra-strong cheese.

Also, one suspects that Jarman's art is a rather easy target for this rigorous critic. Jarman was an artist, but maybe his talent never found its perfect medium, although he created some beautiful, wonderful and memorable stuff on the way. Or maybe that he sacrificed (scarified) his god-given "career" in the English arts world for the gay cause.

In fact, Sewell's review (in the Evening Standard) is commendably restrained, even generous in certain areas (but not others!)

 He does not unleash the verbal hell he so often inflicts on his contemporaries.  He leaves that damning by faint praise to others. He quotes the film reviewer who said Jarman's work mainly amounted to a lot of "significant mischief" - and the archduke of British film, Lord Goldcrest of the Chariots, David Puttnam, who apparently observed that Jarman would probably never have to bother himself about the Oscars.

As an older gay man occupying a lonely niche high up in the vaulting of the English arts world of the 1970s, you wonder what Sewell thought of this hugely personable figure who emerged from the alternative art-squatter scene pod the 70s to become the UK's best-known radical artist-turned set designer turned film-maker.

Having thrilled art movie buffs with the sets he designed for Ken Russell's The Devils,  Jarman went on to make the first, but also the strangest and best feature about UK punk - Jubilee.

This, and his weirdly beautiful version of The Tempest, are not mentioned in Sewell's review, which is odd as they are often thought of as his most successful films.

Nor does Sewell have much to say about Jarman's extensive writing, which I think is probably his most enduring achievement. Dancing Ledge is  a touching and hugely enjoyable memoir. His infectious enthusiasms come across vividly in his books about colour (Chroma), his garden, his politics, his film-making. Even when he going blind and knew  death was close, there was a generous spirit at the heart of everything he wrote - even when he was slagging off some enemy.

He could write, he did write. He also painted and gardened and - by his own account - still had time and energy to spare for a hyperactive sexual and social existence in that now impossibly distant world, the London alternative arts scene of the 70s and early 80s.

Having been part of the late 60's counter culture scene, the Balls Pond Road set, David Medalla's the exploding galaxies and so on, Jarman seemed to be on the highbrow edge of the hippie scene. You imagined him smoking reefers with Robert Graves and Kevin Ayers on Ibitha, but I doubt if that ever happened.

Then came his agit-prop phase, which was more than a phase - it was the rest of his life. It was one which led naturally into the climax of all his work - from squatting in Butler's wharf, and being woken up one morning buy Pier Paolo Pasolini filming Canterbury Tales in its original location, to his roles in there Alternative Miss World,  the anti-Section 28 movement, AIDS awareness, forcible outing of gay celebs - you name it, Jarman was there at the front.

And still making movies - lots of them, through the 80s and early 90s. Caravaggio, The Last of England; the movies that enjoyed much more cult adulation than financial success, but which did launch the careers of some well known actors, Tilda Swinton and among them.

I didn't know him, I wished I had. Wandering around the Charing Cross Road area at that time you half expected to bump into him or catch a glimpse, and often you would. He was famously friendly and apparently unaffected, loved chatting to his fans at favourite cafes in and around Soho.

Sewell predicts this will the last major celebration of a Jarman anniversary. He may well be right, but
that to me is more of a damning verdict on the fashion-driven wolf-pack nature of the media who seem to regulate these things, than of the worth of the artist.

In (reluctant) defence of Clapham

Murder on the Common: some of my best SW4 friends are crows. 

Heartily in agreement with all the Crap Towns stuff about how awful London is published earlier this week (See Daily Mail, etc). But a much better demolition job on the capital can be found on the Vice magazine website.

Not only did this say everything we all hate about London in a far cleverer,  funnier way than I could ever have managed - it also distilled another of my feelings: that if London is the worst place in the UK - no, the world - then Clapham is definitely the worst place to live in London.

So these days, when I say I live in Clapham (and sometimes I even lie and say I live  sort of in Stockwell/Vauxhall/Battersea borders) - I find myself adding things like, well it 's very convenient for transport or, well when I moved here it was still quite bohemian - etc.

Because all the things  in that Vice piece are true - especially the bit saying that, above all, what makes Clapham so, so ghastly is the people.

Not just the banker families with their SUVs parked nose-to-nose in Lilieshall Road, nor the scrubbed infants being dragged to the private schools on the common by their nannies, not just the stupid city boys renting their £600 a week shitty flats in identikit new build blocks on "Wingate Square",  not just the perfectly-formed gaggles of posh girls jogging and braying in their lustrous pink lycra, not just the shouty ex-squaddies running their profitable boot camps on the Common, not just the posh middle aged ladies with their three or four pedigree dogs moaning about their East European workmen....no, there are loads of other ghastly types living in this once unremarkable and now totally insufferable suburb.

But - and god I know hard this can be - we should remember these appalling characters are merely the most noticeable stratum of the local population, not the whole lot of us. These people are like the vile skin on a rich custard.  But I would also like you to believe that, crushed beneath this foul layer are  many perfectly good people who are indeed in need of your sympathy.

But not too much sympathy, because the area is in fact not too bad to live in, once you learn how to filter out or avoid the above-mentioned annoyances.

So here goes,  here are 10 not quite so awful things which perhaps make it possible to live in Clapham, all the above notwithstanding:

1. The charity shops, including a great Save the Children shop  near Clapham North tube, the FARA shops in Northcote Road and Lavender Hill, and the four Trinity Hospice charity shops. The latter vary greatly reflecting the social mix of their locales - cheap and cheerful on the High Street, a bit posh and pricey in Old Town, yummy mummy-rugby daddy in Northcote Road, and a wee bit Up the Junction on Lavender Hill.

2. Rectory Grove/ Rectory Gardens -  the last of the Clapham's old bohemian residentsfight repeated attempts by Lambeth council to evict them. Do read this brilliant entry on the Faded London blog, and especially the fascinating comments by jakartaass etc. See also some amazing photos on Sam C.'s Mixbook
of life in this tiny L-shaped street of early 19th century cottages. Arriving as squatters in the early 1970s, they gained short-life housing tencies from Lambeth, but are having to fight for their survival here as the stench of fat fat profits insinuates its way in the nostrils of their local authority landlords.

3. Clapham Common itself - a great place to get mugged on, to be gay-bashed on whether you are gay or not, to to be hit in the face by rugby balls and frisbees, to tread in dog shit, to be barged out of the way by joggers or shouted at by cyclists. Oh yes, that's just the start of it.
Still a nice place to lie down on and undress on a hot, a rare hot day. And it is home to some of Clapham's least offensive residents - a fine murder of crows.

4. The Clapham Sect  - the group of wealthy Christians who drove the movement for the abolition of slavery in the late 18th century used Clapham's Holy Trinity church as a base. They were also not great believers in alcohol, which is apparently explains the lack of pubs in many of the area's oldest residential areas.

5. Vivienne Westwood: apparently she still lives here, and has always said how much she likes Clapham, unlike so many famous people who once they make it get out. Wonder if Thunderclap Newman still breathes the air of SW4?

6. The new Clapham library: after years of expecting the worst, many of Clapham Public library users agree that the new building, inspired by the spiral-ramp design of the Guggenheim Museum in NYC, is
actually rather good. Andrew Logan's installation of broken mirrors and  bric-a-brac is also popular.
Another possibly good thing to come out of this is the  new Omnibus  community arts venutre being created in the old Library building on Clapham Common Northside.

Andrew Logan's mirror-mosaic-bric-a-brac
 sculptures outside the new Clapham
Public Library

7. Transport:  good that it has three tube stations, shame that they are all on the Northern Line. Buses are good and trains from the Juntion to anywhere in the universe - unless you want to get to Clapham High Street.

8. Angela Carter, Natsume Soseki, Graham Greene, etc, lived in Clapham for a while. OK, they are all dead and at least one of them hated living in Clapham - but at least the place has some literary connections. Amazing how often it appears in novels as the default place for lonely, failing types to live in bedsits, in the early 1960s.

9. Which leads straight on to Trinity Hospice  itself - the oldest hospice in the UK, and occupying a beautiful house  with even more beautiful gardens on the north side of the Common - which might seem more like a good reason, not  so much to live in Clapham, but to die there.

10. Finally, perhaps the best thing of all about this place - it's only about 10 minutes away from Brixton.