SHAMANARCHY IN TH UK: THE LIFE AND WORK OF JAMIE MACGREGOR REID

DR. VICKI MAGUIRE JOHN MOORES UNIVERSITY [email protected]

post-Edwardian social reformer and head of the ABSTRACT Order in England at the turn of the 20 th Jamie Reid (b.1947) is a British artist most century - as a major influence, the impact of this commonly known as art director for the iconic influence upon his practice has so far remained Punk band the during the mid to late undocumented. This paper therefore seeks to 1970s. Drawing on a rich artistic career spanning relocate Reid’s practice within the tradition of over five decades – encompassing painting, English alternative dissent, exploring the influence drawing, artwork for the music industry, interior of George Watson MacGregor Reid and other design and immersive environments – this paper significant family members, as well as radical aims to deconstruct Reid’s familiar identity as the influences such as William Blake and William graphic designer of Punk. The artist’s unique Morris. With the artist’s spiritual concerns being working methods will remain a key focus, detailing used to explore alternative directions for the Reid’s development of an idiosyncratic visual future, this paper will unearth the enduring vocabulary involving the reuse, recycling and themes and concepts underlying Reid’s practice transformation of a collection of techniques, which can be said to form part of the age-old visual motifs and slogans developed over the past British struggle for social justice. forty-five years, many of which have been influenced by the Situationist International. MAIN TEXT Conventional studies of Reid’s work have also tended to locate his practice, involving the Despite a rich and varied career spanning over five use of montage and détournement, firmly within decades, the British artist Jamie Reid, born in the 20 th century. Despite the artist citing his 1947 in , Surrey, remains inescapably ancestral heritage, particularly his great uncle defined by his iconic work produced for the George Watson McGregor Reid (1862-1946) – Sex Pistols during a relatively brief period in

the late 1970s. Reid is perhaps best known for as well as by other conference speakers such his appropriation of a Cecil Beaton as Ana Bastos Raposo. In addition, my 2007 photograph of Queen Elizabeth II, used to MRes thesis explored the impact and legacy of promote the Sex Pistols’ single God Save the the Situationist International in Britain and the Queen which was released on 27 th May 1977 U.S., with particular reference to Reid’s Sex to coincide with the Queen’s Silver Jubilee Pistols artwork. celebrations [Fig. 1]. It could be argued that this Situationist His much-copied ransom note technique influence, coupled with Reid’s use of montage became synonymous with the band. With and detournement, fixes the artist firmly technological advances rendering record within the 20 th century. However, drawing on cover design a dying art, Reid’s Sex Pistols a series of new interviews conducted with the artwork - for example the cover of the 1977 artist over the last 3 years, my paper argues album Never Mind The Bollocks, Here’s The that Reid’s practice as a whole is in fact the Sex Pistols [Fig. 2] - endures as one of the product of a range of influences, most powerful signifiers of the Punk era, encompassing alternative belief systems and celebrated and fetishised by both design radical political views held by a number of the historians and collectors as iconic works with artist’s ancestors. As Reid explained to Jon prices to match. Savage in 1987: For the most part, critical analysis of Both my parents have given me so Reid’s practice has lacked any significant much. The whole family is steeped in a kind of spiritual socialism, and the discussion of Reid’s visual vocabulary, in which older I get, the more I realise how Reid’s commercial work such as his output for much they have given and are still giving me: a love of people, the Sex Pistols does not stand alone but especially, and their huge potential represents part of a greater idiosyncratic (of which we still have only an inkling) and a great love of nature and the artistic language or vocabulary in which environment. certain motifs are reconfigured, reconstructed (Savage, 1987, p.7).

and applied in turn to new projects. My PhD Reid’s skill for using design to successfully and thesis seeks to document this highly immediately convey a political message is a important aspect of Reid’s methodology. recurring theme of the artist’s practice, a Reid’s political influences, not least that of creative evolution which would perhaps not Guy Debord’s Situationist International, are have been possible without Reid’s early integral to any analysis of his career and have immersion into socialism and left-wing politics been deservedly and expertly explored by through his parents John and Nora. Reid’s writers such as Jon Savage and Stewart Home, parents became involved in the anti-nuclear

2 movement, taking their sons Jamie and Bruce with the Universal Bond from along to the Aldermaston marches in the late 1912 onwards [Fig. 3]. 50s and early 60s, which led to Bruce At the dawn of the 20th century MacGregor becoming an active member of a direct action Reid began promoting Druidism as a spiritual subcommittee named Spies for Peace. Nora’s path that could unite followers of many faiths. father Robert Gardner had a strong interest in As detailed by Dr. Adam Stout, the group that both the Socialist movement and MacGregor Reid led, The Universal Bond , contemporary literature, writing a book became a vehicle for conveying many of the entitled In the Heart of Democracy in 1909 ideas that had been expressed by groups such which was published by The New Age Press, as The Theosophical Society and The Order of . The book draws heavily on the the Golden Dawn in the previous century themes of Christianity, socialism and the work (Stout, 2005). Through the Universal Bond a of the American poet Walt Whitman (Gardner, complex tapestry began to be woven, which 1909). drew on the inspiration of the ancient , At the beginning of the 20 th century, the work of the Revival Druids of the previous Reid’s great uncle George Watson MacGregor three centuries, the teachings of the world Reid would become enamoured with religions, and the Western Mystery Tradition. Druidism, becoming leader of the Druid Order The group held ceremonies at Stonehenge, in England in the period directly preceding the campaigned for social justice, and promoted First World War. As Ronald Hutton explains, the Universalist Church, which later became Druidism was believed to have been the incorporated into the Unitarian Church. ancient British representation or embodiment MacGregor Reid campaigned for social justice of the biblical concept of an original true and both as an individual and as a member of the universal faith, a stance taken up by many 19 th Clapham Labour Party. Through his journal century writers (Hutton, 2007). The Druid faith The Nature Cure , he championed an had undergone a revival in the late 18 th alternative lifestyle which promoted century. Eighteenth century scholars saw the vegetarianism, homeopathic medicine and a ancient Druids as the elite guardians of an simple, natural approach to all aspects of indigenous pre-Christian religion, which soon living (often described as ‘naturist’ or became associated with the many mysterious ‘simplicitarian’), at a time when such concerns ancient monuments scattered around the were still regarded as radical, and often British Isles; MacGregor Reid continued this ridiculed. association by choosing to worship at Ever resistant to the expectations and conventions of mainstream society,

MacGregor Reid may be regarded as a (undated) work by Reid references Graves’ countercultural icon. His refusal to pay an book directly, and depicts the White Goddess admission fee at Stonehenge in 1913, and his playing the violin, lamenting the skyscrapers subsequent removal from the site by police and office blocks of the newly-redeveloped could be said to echo the notorious event of Croydon the destruction of the natural Jubilee night – 7th June 1977 – when his environment [Fig. 4]. This indicates that the nephew Jamie Reid, along with Sex Pistols artist’s interest in Druidic folklore has proved manager Malcolm McLaren and others, were integral to his practice from the beginning. As arrested as they accompanied the Sex Pistols Reid explains: on a trip down the Thames aboard the Queen I suppose on one level there is that Elizabeth (Savage, 1987). Both George Watson element in the majority of my stuff which tends to be around painting of MacGregor Reid and his nephew Jamie Reid photography...There’s an appreciation...a are individuals who can be defined by their great element of beauty in it, just seeing the magnificence of things. And there’s desire to demonstrate new ways of organising obviously that other element, the political our spiritual and political resources. As John element ... I don’t see any contradiction in the two. Marchant of Isis Gallery explains, “It is this (Jamie Reid in conversation with John dialectic between gnosticism and dissent that Marchant, 2006. http://www.jamiereid.org/about/the_idle lies at the heart of Reid's practice and makes r_article.html.). him one of the great English iconoclastic artists” ( This quote illustrates the fact that for Reid, http://www.isisgallery.org/artists/jamie_reid. the spiritual and the political have always html). It is clear that this aspect of Reid’s been intertwined.

family history offers us a new insight into the As Philip Carr-Gomm explains, the “wheel life and work of the artist. of existence” referenced by Graves in The Returning to Druidism, Much of the White Goddess (1948) was developed by modern Pagan movement, including Druidism, modern Druids into the Wheel of the Year. can be said have been influenced by Robert According to the Druid belief system there are Graves’ book The White Goddess (1948), eight festivals which divide the Wheel of the which claimed to have discovered a Druidic Year, each with its own celebration, with calendar based around the cycle of nature. occurrences approximately every six weeks. Graves attempts to deconstruct the earliest These include solstices, equinoxes, and the religions, especially those dealing with the four major points in the turning of the Wheel, mother-goddess and nature worship, primarily (Autumn, Winter, Spring, & Summer). The four through ancient poetic stories. An early elements - Earth, Air, Fire, and Water - are

4 also celebrated individually throughout the the Strongroom’s two other studios, as well as year at the various festivals (Carr-Gomm, its leisure rooms, offices, stairwells and bar, 2006). leading to the creation of a unique, coherent and instantly recognisable identity for the These Druidic cycles are often referenced studio [Figs. 7 & 8]. by Reid, particularly from the 1990s onwards. In 1989, Reid started on a ten year Reid worked on the Strongroom from commission to revisualise and reinvent the 1989 to 2000, creating a vivid yet serene interior spaces of both the recording and interior setting including murals, collages and resting areas of the Strongroom - a recording wall hangings inspired by his Celtic and Druidic studio which was opened by Richard Boote as roots, centred on the Druidic Eight Fold Year. a single studio in Shoreditch, London in 1984 Guardian journalist Imogen O’Rorke, in her [Fig. 5]. This small studio was followed by 1998 article ‘Never Mind the Pollocks...’ Strongroom 2, which opened in 1989. As well explains that Reid “describes the act of as being technologically ground-breaking – it painting as ‘white magic’ – spreading positive was the first commercial studio to fully vibes to the music with astrological symbols integrate MIDI with traditional analogue and Celtic amulets” (O’Rorke, 1998, p. 9). equipment – Strongroom 2 was also Whilst working on the Strongroom interiors revolutionary in terms of its interior design Reid also began to work with slate, a natural [Fig. 6]. According to the Strongroom website, material which the artist found to have Boote wanted to reinforce his “passion for incredible acoustic and sound-proofing creating a creative atmosphere distinct from properties; Reid explored this further in his the functional approach of other studios” solo exhibition Slated , held at the Aquarium (http://www.strongroom.com). Reid, whom Gallery, London, in 2004 which featured a Boote knew as an associate of Malcolm series of abstract acrylic paintings and screen- Garrett’s Assorted iMaGes design studio, was prints on slates, inspired by his travels to brought in to inject Strongroom 2 with a Ireland, Scotland and Wales over the previous colourful interior that “furthered ten years. Stephen Kingston describes Reid’s Strongroom's reputation for radical and work for the Strongroom as follows: innovative thinking”. After Strongroom 1 Silk-screened canvasses, marble, etched experienced a flood in 1990, the studio was bronze, and slate carry Reid's imagery across the twenty room complex, refitted and Reid returned once again as characterised by a cacophony of colour artistic director, continuing and developing and symbols...It is a kind of Temple to Sound, which, now completed, is a pop the theme he had established in Strongroom cultural monument for the new 2. Reid also expanded his unique vision into millennium. (http://www.chipwork.com/pages/full_bi

o.html). turned artistically soft” (Mahoney, 2001, p.

16). Reid argues otherwise; as he explains in a The phrase “Temple to Sound” is a fitting one 2004 interview with Richard Cabut: in relation to Reid’s interior design work for Magic, to me, is a matter of being the Strongroom, hinting at the artist’s desire practical. I mean, to try and create to move beyond pure decoration and use something with it...One example is the Strongroom, where...I’ve painted a series architecture and interior design as a positive of big canvases using colour symbolism, socio-political force. astrological symbolism...I just wanted to use that element of magic, for want of Reid relates this concept back to a another word, in a solid way, in a real situation, actually creating an Situationist critique of the city, and the environment. Over the past two millennia, concept of Unitary Urbanism. In a 2008 architecture has attempted to dominate people, make them feel inferior, servile. I interview he explains, wanted to create an environment that’s You know, a lot of that sort of initial an inspiration. Situationist critique, as you probably (Jamie Reid in conversation with Richard know, came out of a lot of architecture Cabut. students who were very involved at the http://www.3ammagazine.com/3am/kee start, and it came out of that concept. If p-warm-this-winter-make-trouble/). you actually look at a lot of 20 th century In other words, Reid argues that his cities, they’re all about power control and preoccupation with abstract and esoteric getting people to perform functions. like rats in a box really. And it could be so the concepts such as shamanism, astrology and opposite. Which is why I don’t see a magic can in fact be harnessed in order to contradiction between the spiritual and the political. make a practical and measurable impact on (Jamie Reid interviewed by Vicki Maguire, the world around us. June 2008). During the 1990s, Reid continued to work

Reid’s ideology stands in direct opposition to prolifically with a number of musicians and critics such as ’s Elisabeth bands who for the main part have chosen to Mahoney, who in her 2001 article ‘A Hippy operate on the fringes of the mainstream Ending’ labels Reid’s later work as “distinctly commercial music industry, again recycling unthreatening and trippy Celtic-tinged wall and revisualising the familiar motifs which hangings and large paintings” which she finds over time have come to form part of his difficult to reconcile with the savage personal methodology as a visual artist, in experimentalism of the 1970s (Mahoney, order to create sleeve designs and posters 2001, p. 16). Mahoney also suggests that that successfully convey the unique ethos and cynics may see in Reid’s Druidic-inspired work spirit of a particular recording artist. In order “yet another angry young man who has to achieve this Reid has drawn upon much of his Druidic and shamanic-inspired work from

6 the 1980s onwards, again putting forward an derived from earlier images produced for the argument for the continuing relevance of his Strongroom, strengthening the band’s identity artistic practice. A reviewer of Reid’s Peace is with Reid’s particular brand of Celtic Tough exhibition at the New York gallery mysticism. The image used on the back cover Artificial in 1997 agrees, explaining: of the CD booklet reclaims two animals which were appropriated by the monarchy as part of I suppose it is terribly ironic and all that one of Reid’s images proclaims “Never the Royal Arms. Reid’s design re-instates these Trust A Hippie!” but I’d much prefer Reid’s heraldic 'beasts', re-presenting them as the ‘backsliding’ into hippie-ish mysticism to the Sex Pistols’ head-long rush into symbols of Summer (lion), and Winter cultural insignificance. The simple reason (unicorn) respectively [Fig. 9]. Reid designed for this is that hippie-ish mysticism has enabled Reid to do something that neither two further album covers for Afro Celt Sound John Lydon nor Malcolm McLaren has System – Volume 2: Release (1999) which done since the 1980s, which is stay in meaningful touch with the politically- featured the 'starship' design developed for engaged musical subcurrents that trace the band, over-laid with the recurring motif of their inspiration (if not their sound, look or style) to punk. the Druid OVA [Fig. 10], and Volume 3: Further (http://www.notbored.org/reid.html). in Time (2000), which featured the ‘Axis’, a

culmination of a whole year’s work centred The band that Reid refers to most frequently around the theme of stars [Fig.11]. Like the in interviews is ; as a cover for Volume 1: Sound Magic , Reid’s later result of his ten year collaboration with the cover designs were also derived from earlier Strongroom, Reid also spent five years as works for the interior design of the visual co-ordinator with the band. Formed in Strongroom studios. 1996 following a visit to the Strongroom, The same themes and influences are Imogen O’Rorke describes Afro Celt as “a repeated in a number of Reid’s other major fusion of Irish musicians with the Senagalese projects, most notably the Eight Fold Year , a sound of ” (O’Rorke, 1998, p. 9). massive body of work representing an ongoing Reid worked extremely closely with Afro Celt exploration of the Druid Wheel of the Year Sound System, designing not only album and and the four elements through a series of 365 single sleeves for the band but also paintings as well as drawings and photographs collaborating with them on live performances. taken by Reid and his wife Maria on their In 1996 the band released their first many journeys throughout the British Isles album Volume 1: Sound Magic , with Reid and beyond, undertaken at various key times designing the album sleeve. The source for the of year. The images range from depictions of sleeve was Reid’s 7’ by 7’ canvas OVA , painted birds, trees, mountains, rivers and the in 1988. The cover was one of three works

geometry of the natural world, to more on such deep things in English traditions - abstract motifs of primal expression and have people like Thomas Paine, William Blake...” been described as representing “Themes that (Jamie Reid interviewed by Vicki Maguire, resonate and echo those of William Blake, January 2008). It is Blake’s combination of the amongst others; life looked at from the political, spiritual and ecological which has cellular or organic level, to the universal and proved to be an attraction for many artists, spiritual heights - themes that have occupied musicians and writers throughout the 20 th the human state for literally, thousands of century including Allen Ginsberg, Philip years” Pullman, Patti Smith, and Ray (http://www.chipwork.com/pages/8fold.html) Davies. As Colin Trodd explains, musicians . such as Jah Wobble QUOTE “have identified [Blake] as a global spirit of the imagination, a The influence of Blake is one sign of creative freedom standing outside and acknowledged by the artist, who in a 2008 against all systems of authority and control” interview describes the inspiration for his (Trodd, 2008). Jah Wobble, otherwise known paintings as “like with Blake: ‘See the world in as John Wardle, is a long-time friend of the a grain of sand…’ sort of syndrome” (Jamie Sex Pistols’ John Lydon and was the original Reid interviewed by Vicki Maguire, December bass player in the band Public Image Limited. 2008). Reid also talks about the profound In 1996 he released The Inspiration of William effect “all the Blakes at Millbank in the Tate” Blake , which featured Blake’s words against had on him on his first visit to the gallery as a an atmospheric soundscape. The Kinks’ Ray teenager, intrigued by the mystical worlds Davies, who enrolled at of they depicted (Jamie Reid interviewed by Vicki Art in 1963 - a year before Reid – also cites Maguire, June 2008). As Geoffrey Ashe Blake as a major influence, with Blake’s God explains in The Offbeat Radicals: The British Writing upon the Tables of the Covenant Tradition of Alternative Dissent (2007), Blake’s forming the cover design for the 2009 album lifetime coincided with the 18 th Century The Kinks Choral Collection , featuring Davies Antiquarian speculation about Britain’s and the Crouch End Festival Chorus. ancient past and the newly-fashionable status bestowed upon Druidism by 18 th century It is this interpretation of Blake as a scholars (Ashe, 2008). Reid picks up on this combination of mystical seer and anti- connection between Blake and the Druid establishment activist that appears to have Order in a 2008 interview; he explains: “That drawn such 20 th century figures to his life and was the thing then with the Druid Order, it work, not least Reid. Reid also acknowledges was very politically involved as well. It touches the fact that the political aspect of Blake’s life

8 and work has often been overlooked, stating: realises an environment with the spirituality of the “golden age”. The best “That’s the thing with William Blake, you taken from all ages… know. He’s seen as this sort of mad prophet, (Reid, Suburban Press No. 1, 1970, p. 2). but in fact he was incredibly involved with all sorts of different people” (Jamie Reid in Reid appears to be able to identify with such conversation with Vicki Maguire, January figures, drawing a parallel between the 2008). These included Thomas Paine, an narrow categorisation of their life and work, international revolutionary seen as and critics’ interpretation of his own artistic personifying the political currents that linked practice. As Reid stated in 2006: “It’s American independence, the French something that I do suffer from as an artist, in Revolution, and British radicalism. In Britain, terms of the people who run culture. I don’t Paine earned the distinction of being the most fit into one category. I would’ve thought that widely-read of the radical pamphleteers of the the whole idea of an artist is to be expansive, 1790s, as well as being the one whose works like an explorer going forward. Not stuck in a were most often prosecuted. rut” Reid appears to hold a particular interest (http://www.isisgallery.org/further_reading/ja in figures such as Blake and Paine, as well as mie_reid_the_idler_article.html). the Romantic poets, whom he sees as having Jamie Reid is an artist who has so far been compartmentalised by history. As he escaped classification within the explains in a 2008 interview: contemporary art world. With a rich and ...it’s the same with what we regard as the varied artistic career spanning over forty years Romantic poets, like Wordsworth and - encompassing painting, drawing, sculpture, Coleridge. They were really radical people at the time. It’s so true of what history interior design, film, immersive environments does to people though isn’t it; it just puts and artwork for political causes - it is clear them in a completely different light and takes away the real situations of the times that Reid is no longer able to remain solely they lived in. defined by his work for the Sex Pistols (Jamie Reid in conversation with Vicki Maguire, January 2008). produced in the relatively short period of 1975 to 1979; a definition I have sought to Reid also references William Morris, stating in deconstruct through an in-depth analysis of Suburban Press No. 1 in 1970: the artist’s career as a whole, including key works produced from the period 1980 to William Morris could see 100 years ago a need for some aspects of technology to be 2010. curbed and others encouraged. Read his “Utopia”. He sees into a future where One of my key aims was to locate Reid’s technology serves mankind but he also practice within the tradition of English

alternative dissent, exploring the influence of used by Reid on the cover for the anti-Criminal George Watson MacGregor Reid and other Justice Act fundraiser album Taking Liberties significant family members, as well as that of (1994) [Fig. 13]. One of Reid’s more esoteric radical figures such as William Blake. Reid’s images, the Astrological Clock , had previously interest and affinity with such individuals, appeared in the Strongroom, and on the cover along with his ongoing involvement in topical design for Cactus Rain’s 1991 album In Our political issues such as campaigns against the Own Time ; both images had also featured on Poll Tax and later, the Iraq War, embody his examples of Reid’s small circular slate works claim that Punk is a continuing story, [Fig. 14]. Finally, the Swastika Big Ben image illustrating the age-old struggle for social had first appeared on the back cover of issue justice in Britain and suggesting an alternative 21 of VAGUE magazine in 1988 [Fig. 15]. reading of Reid as an artist following the In recent years Reid has often been tradition of British radical dissent. As the artist criticised for placing both original works and explained to Stephen Kingston in 2000, prints on sale through commercial galleries, ...all that I’ve been doing is re-adapting my which some individuals may view as a ‘selling work from the late 1960s and early ‘70s out’ of the DIY, anarchic ethos of Punk; just into different contexts and continuing with the same themes and messages. one example of the artist’s complex They’re the same messages that have relationship with the contemporary art world. been fought over for the last 2000 years, and I don’t think they will ever go away or Many critics still find Reid’s spiritual agenda change. You have to keep redefining them difficult to reconcile in relation to his and have a go again”. (http://www.chipwork.com/pages/full_bi involvement with Punk. However, this study o.html). has sought to deconstruct the identity of Reid

as “The man who art-directed Punk”, Reid’s heritage of Druidism and Punk is repositioning him within the context of English perhaps best illustrated by his cover design for radical dissent, where both aspects of Reid’s the Evolution Records compilation album practice may be viewed as attempts to Shamanarchy in the UK (1992), the title of explore positive alternative directions for the which highlights the dual esoteric and political future. The artist’s practice from the 1980s to nature of his practice and which also provided the present day, particularly his painting, the inspiration for the title of this paper. The continues to resonate with the same themes cover design for Shamanarchy in the UK of a desire for positive spiritual and political combines examples of Reid’s iconic cut-and- change, coupled with a celebration of the paste ransom note lettering with some of his innate power of the natural world; themes more esoteric motifs [Fig. 12]. The central which, in the context of our current fragile image, Boudicca Rising , had previously been

10 political climate, can be said to provide Mahoney, Elisabeth (2001) ‘A Hippy Ending’, in The Guardian , Wednesday 28 th February, 2001, p. evidence of Reid’s continuing relevance as an 16. artist in the 21st century. Marchant, John (2006) ‘Jamie Reid - The Idler Article’, available at Jamie Reid’s latest exhibition Peace Is Tough will http://www.isisgallery.org/further_reading/jamie be at Isis Gallery at The Bear Pit, Park St, London _reid_the_idler_article.html (last accessed SE1 from 27th October – 20th November 2011. 22/09/11). http://www.jamiereid.org/

Marchant, John (2007) ‘Jamie Reid’, Isis Gallery,

available at http://www.isisgallery.org/artists/jamie_reid.html REFERENCES (last accessed 22/09/11). Anon (1997) ‘Review of exhibit of works of Jamie Reid’, available at O’Rorke, Imogen (1998) ‘Never Mind the http://www.notbored.org/reid.html (last accessed Pollocks…’, The Guardian , 27 th January 1998, p. 9. 22/09/11). Reid, Jamie interviewed by Dr. Vicki Maguire, Ashe, Geoffrey (2007) The Offbeat Radicals: The Liverpool, August 2007. British Tradition of Alternative Dissent , London: Methuen. Reid, Jamie interviewed by Dr. Vicki Maguire, Liverpool, Jan 2008. Cabut, Richard (2004) ‘Keep Warm This Winter – Make Trouble’, available at Reid, Jamie interviewed by Dr. Vicki Maguire, June http://www.3ammagazine.com/3am/keep-warm- 2008. this-winter-make-trouble/ (last accessed 22/09/11). Reid, Jamie interviewed by Dr. Vicki Maguire, December 2009. Carr-Gomm, Philip (2006) What Do Druids Believe?, London: Granta Books. Reid, Jamie (1970-1975) Suburban Press, No’s 1 to 6, Suburban Press, Croydon. Chipwork (2007) ‘The Eight-Fold Year and the Four Elements’, available at Reid, Jamie & Jon Savage (1987) Up They Rise: The http://www.chipwork.com/pages/8fold.html (last Incomplete Works of Jamie Reid , London: Faber accessed 22/09/11). and Faber.

Gardner, Robert (1909) In the Heart of Democracy , Reid, Jamie (1989) Celtic Surveyor: More London: The New Age Press. Incomplete Works of Jamie Reid , London: Assorted iMaGes. Graves, Robert (1959) [1948] The White Goddess , London: Faber and Faber. Stout, Adam (2005) Universal Majesty, Verity and Love Infinite: A Life of George Watson Macgregor Hutton, Ronald (2007) The Druids: A History , Reid , The Order of Bards Ovates & Druids, East London: Hambledon Continuum. Sussex.

Kingston, Stephen (2000) ‘Jamie Reid: The Artist, Strongroom - ‘History’, available at The Myth, The Biography’, available at http://strongroom.com/#/history/4524843652 http://www.chipwork.com/pages/full_bio.html (last accessed 22/09/11). (last accessed 22/09/11). Trodd, Colin (2008) (exhibition booklet) Blake’s

Shadow: William Blake and his Artistic Legacy , Fig. 3 Whitworth Art Gallery, Manchester.

Vague, Tom (1988) VAGUE magazine, December 1988, London : Vague Publishing, London.

ILLUSTRATIONS

Fig. 1

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Fig. 2

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12 Fig. 6 Fig. 9

Fig. 10 & 11 Fig. 7

Fig. 8 Fig. 12

Fig. 13 Fig. 15

Fig. 14

ACKNOWLEDGMENTS I would like to thank the following persons for their dedication, generosity and support throughout my PhD studies: I am indebted to Jamie Reid for his cooperation, generosity and hospitality. I also offer my gratitude to my Director of Studies Prof. Colin Fallows and Second Supervisor Prof. Julie Sheldon at the Liverpool School of Art and Design for their critical wisdom and insights over the past four years. Many thanks to Peter Appleton, Prof. John Hyatt and Dr. Sian Lincoln, who acted as excellent examiners in the process. Thanks also go to the

AHRC and Liverpool School of Art and Design, Liverpool John Moores University for funding my MRes and PhD study respectively.

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