Art Is Everything…

Kerry James Marshall @ Royal Academy of Arts

Left Toronto Tuesday evening and on arrival Wednesday morning hopped onto the Piccadilly line into Bloomsbury and missed the traffic on the highway into London. Booked all day Tuesday so on arrival on Wednesday January 14, I got straight to my room, showered, grabbed breakfast returned to my room, took a cold shower and sorted wardrobe. Off I went on the number 14 bus along Great Russell Street and hopped off at Burlington House to attend exhibition number one!

Kerry James Marshall at The Royal Academy of Arts

What a dazzlingly brilliant Wednesday morning and infinitely more temperate than frigid Toronto of course. Membership to the RAA meant a quick ride up the glass lift to take in the most wonderful exhibition. A nice quick visit to London to savour all the art and culture my soul craves is just right. I can be away long enough to enjoy myself and not too long that my spouse back at home in Toronto on oxygen gets a break from me as sole caregiver and enough time without feeling alone overlong.

Kerry James Marshall I

This was one of the most gloriously stunning exhibitions that I have attended in London. Quite remarkable.

Kerry James Marshall II
Kerry James Marshall III

What I truly loved about this art exhibition of African American Kerry James Marshall is the artist’s attack, which is unapologetic about blackness. Marshall seems intent on stabbing the middle finger at the gross colorism within Black culture and in particular within Black America. The jaundiced self-loathing colorism of Blacks immediately breeding to ‘improve’ the race on becoming wealthy and successful with others who have proven our most ardent enemy, is unmistakably alluded to in Marshall’s works. The allure and deception of light-skinned offspring as though somehow they in their outréness make anti-Black racism go away or somehow they will escape their Blackness, the artist addresses head on with his choice of portraying Blacks splendidly, unmistakably richly melanated. The arch obsession with being biracial, mixed race and anything but Black speak to the intense anti-Black animus that stifles colorism. Blackness, or is it massa, is a shame that must be eradicated. Humans, truth be told, are seven parts decidedly absurd.

Akram Khan’s Giselle curtain call

One of the greatest discoveries on this short trip to London was a matinee performance of Akram Khan’s Giselle at the London Coliseum. A trip that was supposed to have been in November, 2025 but pushed back owing to considerable work on an art project, I finally decided to drop everything and rush to London to take in the Kerry James Marshall exhibition at the Royal Academy of Arts before it closed on January 18, 2026. Scouring the theatre calendar, I decided to pop into a Friday performance of this modern interpretation of Giselle as I had not been to an English National Ballet performance in ages. I chose not to research Akram Khan’s ballet and as is my wont, wanted to go into it without preparation. I was, if I’m honest, resigned to it possibly being yet another boring modern dance performance as so much of modern ballet is tedious at best as comparably was the case the following evening on taking in the Royal Ballet’s Woolf Works.

Royal Opera House

Boy was I in for a most rapturous awakening. Never before had I seen so revolutionary a work in the age old idiom. Here was a totally new and refreshing aesthetic. Ballet, thanks to Akram Khan’s visionary genius, was reinvented with daring style and spectacularly innovative movement – those hurried contracted rushes across the stage, and a set that was as if sentient and beautifully choreographed into the ballet. There were even elements of contact with extraterrestrial life alluded to as the set swung backwards to reveal seemingly extraterrestrial creatures as if disembarking from their alighted interstellar craft. Most of all, the music was a most soul stirring fusion of Dravidian sensibilities and spirituality. Moreover, the music was so powerful, though not oppressive, that it transcended the stage and pierced through to one’s cellular integrity. I have not been so richly inspired by sheer genius and vision, in the theatre, in long ages. What a towering work of genius!

While it has been a most hellish January winter in long ages, along came the Dior Spring Summer 2026 Haute Couture collection. Here was nature, art and architecture deftly realised as fashion most rare. The second dress, a white affair with bow at the hem, was nothing more than a gloriously inverted calla lily about to burst into bloom. All of blooming nature was architecturally reimagined and sculpted into truly great works of sartorial art. This show was true rapture. All hail Jonathan W. Anderson, creative director at Christian Dior, for being the most elegantly refined of spirit creative genius.

This glorious exhibition at Tate Britain was like becoming awake in the most gloriously sequential lucid dream where each masterful tableaux filled salon was a walk through past life memories. Truly rhapsodic.

Not since the Francis Bacon exhibition at The National Portrait Gallery in 2024 was I so thoroughly besotted by art. Astounding.

Mitsubishi Japanese Galleries The British Museum

Valentino Garavani 11.5.1932 Year of the Monkey 19.1.2026. Sweet and blissful dream staggering titan…

Valentino Specula Mundi

Valentino creative director Alessandro Michele presented one of the most phenomenally ravaging haute couture collections in long years. Masterful tailoring, ingeniously theatrical and wonderfully spirited. Pure genius and an inspired tribute to the recently dearly beloved creative genius, Valentino Garavani. Bravi!

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Two rats during the course of eighteen months produce one million offspring. You’ve long transcended being a cultural infestation; you are a fucking plague and Karma, that most vicious of cunts, will yet dispense with you!

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©2013-2026 Arvin da Brgha. All Rights Reserved.

All Too Human… And Then Some!

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Well, after having been dazzled by Natalia Osipova, there was no doubt what next adventure my soul had to devour.  I arrived at Pimlico Station and enjoyed the cool brisk walk to the red and white gorgeousness of the neighbourhood architecture.  I arrived at 08:50, a good hour ahead of the opening.  I took the time to place my palm on as many of the august sycamore trees in the neighbourhood as I could.  There were some high-end cars waiting out front of the Tate Britain Museum to take in All Too Human as yet another jetliner roared towards London Heathrow.  Definitely bulletproof, a stately Benz sat closest to the entrance with a smoky grey Bentley, SUV no less, parked furthest of the cars.  

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Eventually, persons began turning up and the engaging West African security agent who had the same strong, proud, full-lipped mouth as Leontyne Price’s closed one of the two heavy black doors to protect me as I waited outside the main glass sliding doors as a private event was underway — thus one couldn’t be allowed inside.  Finally, persons began leaving, one of whom — in a beautifully vivid red coat — was Cherie Blair CBE, QC.  She was proud-looking and had the kind of broad body that as I child was so familiar when growing up in the West Indies.  She had that air about her that bespoke a life in the public eye; someone made a curt remark and she was quick on the rebuttal.  I was much humoured and reminded of Saddam Hussein trading insults with the men who moments later gladly terminated his life.  

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Finally, it was on to the business in hand and what a beautifully stunning exhibition; one of the best contemporary art exhibitions that I have attended in years.  The greatest discovery was the lush, richness of the Lucian Freud still-life, Two Plants.  Thoroughly layered, engrossing and lyrical in its deft vividness.  I was left teary eyed by its sublime beauty. 

Sleeping by the Lion carpet Leigh Bowrey

Of course, I was moments earlier moved to dewy-eyed focus when drinking in the rich tableau of the portrait of creative artist and true eccentric, Leigh Bowery whom many years earlier I had seen perform in New York City.   I was reminded, of course, in Leigh’s passing of the countless many whom I have lost along the way to AIDS.

All Too Human

The poster for the show at Russell Square Tube Station in Bloomsbury.  A wonderful tribute to Leigh who covered a fair bit of ground during his lifetime… sweet and blissful dreams be yours…  

Francis-Bacon-Portrait-1962

Naturally, I booked my flight based on two things: one, Giselle with Osipova and secondly, a joint exhibition featuring Lucian Freud and Francis Bacon.  For that, I would gladly hop a Tesla to Iapetus.  Of course, this exhibition was a pilgrimage of sorts for me and it was a way of paying homage to the artistic accomplishments of cadre mates.  

Study for Portrait of Lucian Freud Francis Bacon

As per the portrait of Lucian Freud above, these two artists are cadre mates of mine and Merlin’s.  Lucian Freud is a mature priest in our entity (6).  Along with Rudolf Nureyev and Grace Jones, Francis Bacon is next-door in entity 5 of our cadre.  Francis is a mature artisan, Grace Jones a mature warrior and Rudolf Nureyev a mature sage… and how.  I was thoroughly warmed to have drunk of their spirits.  

Portrait of Isabel Rawsthorne 1966 by Francis Bacon 1909-1992

This particular portrait, Isabel Rawsthrone, I especially loved.  Raw, primal and emotionally intense there is something decidedly operatic about the focussed intensity of this portrait.  After initially getting over the intensity of it, it proves rather warm and enveloping.  

Three Figures and Portrait 1975 by Francis Bacon 1909-1992

This was a thoroughly arresting and soul-stirring adage; it was a beautiful way to have begun the day’s adventures.  

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After walking past the noise of the construction/renovations taking place on the first floor — one of the workers was a real pulse-racer, looking as he did like no end of hot, rough sex and in work gear no less!  Then it was downstairs to take in the Impressionists in London exhibition.  I did not buy the catalogue.  I always am a bit put-off by the association of the word “dream” when describing the works of impressionists.  There is nothing unfocussed or diffused about dreams.  Trust you me, as someone who recalls at least half a dozen dreams on average, oftentimes, dreams prove the most lucid part of any given day.  Perhaps, it was all the wine the French impressionists consumed but the maudlin-feeling lighting just doesn’t do it for me… most times.  

Notting Hill Gate

Having had my fill, off I went from Pimlico to Nothing Hill Gate in the wet snow and made the long trek to Kensington Palace where one of the most glorious flying dreams in this lifetime was set — also, in that dream was a then incarnate, Diana, Princess of Wales with her two beautiful-spirited sons, the future HRH Prince William, Duke of Cambridge and HRH Prince Henry of Wales and Duke of as-yet-known after he marries his beautiful bride, Ms. Meghan Markle — a mature artisan, to his mature warrior and an entity mate of his no less.  

Kensington Palace

On the long trek along Broad Walk in Kensington Gardens from the high street, I enjoyed the look of snow everywhere.  The odd flake fell from time to time as joggers braved the fierce wind off the park.  One brave soul with a shock of close-cropped red hair, sported the greatest thighs as he jogged strictly in a pair of wrestler’s shorts.  He proved warming for my blood, indeed.  

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As I got towards the edge of Kensington Palace the handsome raven above swooped in from off my rear right and towards the palace.  He alighted, cocked the head at me and kept taking to the wind to come closer, all the while fixing me with a hard gaze.  “Yes, of course, you can see my heart.  Love is the password” I said aloud to the totemic creature as it kept on calling at me and edging ever closer, though, not being confrontational.  Satisfied with my password, seemingly, it bobbed and took to the air never to alight again.  I rather appreciated the warm welcome.  

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I loved the sparse beauty of the King’s Gallery at Kensington Palace, which — for me at least — was lauded over by the Equestrian Portrait of HM King Charles I by Sir Anthony van Dyck, who happens to be in entity 1 of my cadre; he, presently incarnate and one of my oldest friends, shortly is about to return from his winter stay at his Acapulco penthouse; I will be visiting him later this spring on the Canadian west coast.

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A truly beautifully tailored, handsome suit, this one.  I am not a big fashion person — I believe that one is best dressed when naked and preferably tumescent.  I did, though, rather enjoyed the movement through the Diana, Princess of Wales exhibition.

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A very beautiful second-level mature artisan, she was too.  

HRH Catherine Duchess of Cambridge

Having been inspired by Diana, Princess of Wales’ portrait, I made my way to Charing Cross Station in Trafalgar Square and cut across the street where there was a broken water main flooding the street.  As usual, Yoda was there doing his routine and, no doubt, earning a pretty quid.  I took in the HRH Catherine, Duchess of Cambridge-curated exhibition, which had opened two nights earlier on my arrival.  Though, I had stood outside the National Portrait Gallery to catch a glimpse of her arrival, I soon dashed off in the increasing snowfall, if I were to make my Jazz at Lincoln Center performance across town at the Barbican Center.  So, having missed seeing her in person, the next best thing was to go gaze at the portrait of HRH Catherine, Duchess of Cambridge.  I love it as it is so layered and complex; she is a late-mature warrior soul.  

National Portrait Gallery

As I move very, very quickly, I was out of there and soon grabbing a take-away fish and chips at Ben’s on Shaftesbury.  I then headed back to my hotel, ate, napped and got ready for a night at Royal Albert Hall to see OVO.  

Royal Albert Hall

Never before had I taken in a Cirque du Soleil performance — I have my reasons…  Nonetheless, I just wanted to enjoy anew the ambiance and acoustics of the marvellous auditorium.  

OVO

The show was no more engaging or exciting than bad bathhouse sex, which if it weren’t so late, one would never have bothered engaging in.  A perfectly forgettable tourist sort of thing to indulge when there was no other nighttime entertainment going that was worthwhile.  I could have taken in 42nd Street in the West End but I had already seen it at least a dozen times when then living and dancing in New York City in the early 1980s.  The idea of taking in 42nd Street was only slightly less irritating than the thought of messy bathhouse sex… options… choices, indeed!  

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After the show, on the long walk from Royal Albert Hall to South Kensington Station, a young mesomorph asked me for a fag — I don’t smoke — but it was obvious what he was after.  He sat across the narrow aisle on the eastbound Piccadilly Line ride and the rest proved a rather memorable night.  

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The morning after the night before, it was off to Windsor Castle, of which I will next blog.  

All Too Human Catalogue

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As ever, sweet dreams and thank you for your ongoing support.  

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©2013-2026 Arvin da Brgha.  All Rights Reserved,