FACE Facepainter of the year and now World Champion, can anyone stop this London facepainter from taking over the cosmos? We track down Bibi and get her to answer a few questions.

How did you get started in face painting/body painting?

 I volunteered to help out at my children’s Steiner School Fayre (yes it was spelled like that) and the stalwart that had frightened everybody else off was Linda Ireneschild. It wasn’t as easy as I thought it would be, but Linda and I became firm friends and a new career was born.

Have you always been artistic - were you good at art at school?

Yes I was ‘good at art’ at school, but I was also ‘good at maths’ and other academic subjects so it wasn’t encouraged as being worth dedicating my time to. However, I moved schools a lot so kind of did my own thing. I have always doodled, and always been interested in representing things I see, and converting them into a design, especially natural things. I did go to ‘Art College’ for a year after I left home at 15, seemed like a good idea at the time, but my tutors were most of the Bonzo Dog Doo-Dah Band (Google it if you’re too young to remember) and not a lot was taken seriously. At least we had fun.
 

How long have you been painting?

Painting? They thrust brushes and paints at everyone at nursery don’t they? Oh, you mean faces! I do remember having some very silly birthday parties when I was a bright young thing, and my first face paint was bought for a Fungus The Bogeyman party, from Charles Fox, a really yukky green. I still have it. Then there was the Punk Party – do you want photos? It wasn’t retro. I wish I’d known about Mehron Gold Powder for my 25th Gold Party, I wouldn’t have had to wear possibly the worst swimsuit in fashion history. I thought I could be a clown when I was 19, (and even trained at Oval House) and that meant painting myself too. My first painting on children didn’t happen until I had sone of my own to victimise.

What did you do before?

Before... was there a before? Yes there was! I was (amongst other things) involved in music promotion and a Graphic Designer running my own studio, working mostly for travel companies and nightclubs for some reason. It was fun while it lasted, but when it all got computerised it drove me nuts, and I didn’t have (or want) a computer. I did a lot of ‘ideas’ things like invitations to events that were written on oranges or eggs -there was a reason, I’m sure, and most of the eggs arrived in one piece - and quite a lot of illustration too. I also got involved in making costumes after my unexpected baptism into Notting Hill Carnival, and met Nicky Lyons who designed fantastic costumes for it way back then. We did a lot of work together including making the Teletubbies' costumes. I was on body duty and am particularly proud of their bums. And thighs. But not the programme, though it did enable me to buy my first proper car. I also acquired a ‘carnival baby’ which changed my life considerably. 

What is your favourite aspect of the job - working with kids, teaching, face painting, body painting?

I’m not one of those that professes to do it all for the smile on the child’s face. Whilst that is a bonus, it’s not guaranteed, and there are some pretty strange kids in these parts. I’m more likely to take a leaf out of another ‘disgraceful’ painter’s repertoire and say ‘Thank me’ as they walk away without any comment or change in expression. Of course I have met some lovely ones too; perhaps it’s the wrong question to ask at the end of August!

As a perfectionist, I can never say I’m happy with what I’ve done and it’s been a real challenge for me to embrace something that is so ephemeral and instantaneous. However, I believe it’s done me good to be forced to let go and also have a go at things I could never plan. It’s also interesting that I got involved in making costumes for Carnival that get instantly trashed!

I find body painting quite scary as there is always a time constraint that limits what can be achieved. It is a large area just to cover well before you even think about a design. There is never enough time. I would have thought that the 6 hours allowed at Seeboden was ample, I’ve never before had that much time, and there were two of us (Cat was fantastic) but I had thought up something luxurious to fill the hours... it was still panic stations to finish in time.

Teaching has been an interesting shift, we get great feedback, better than from facepainting as we keep in touch with so many that have been to the school, and respect their opinion more that the parent who exclaims ’That’s the best facepainting I’ve ever seen!’  They’ve always said that, and I just wonder what on earth they’ve been seeing.

Favourite aspect? Crawling into bed at night. And being creative. And the bit that goes really well, probably simply because the child sits still.

How do you feel about having such a fabulous job and not needing to slog your guts out in an office?

 Who told you I don’t slog my guts out in an office? I’ve almost always been self employed and there is an endless amount of office work to do! It is nice to get out and about when painting, but the downside is the travelling to get to places you’ve never been before, on time. The stint I did in offices was dead boring, and not at all challenging, so I wouldn’t say it was a slog – this is much worse!

How did the London School of Face Painting come to be, and how do you feel about it’s success?

LSFP sort of happened by accident. Caro had been running occasional classes in Peckham Library as Lococo, and asked me to do a couple with her. I was dubious at first, but they went well, and we complement each other well (if not compliment!). We have different styles and ambitions and the two of us add up to about 5. So we formalised it as The London School of Facepainting so that it really was both of us. We went on holiday to New Zealand together, and didn’t mention facepainting once! So that was ok. We even shared a tent and managed to get on, so that was ok too.

I guess it is successful, in the early days we worried a lot about filling the classes as we had to commit to the rent, and I’m not used to losing money. There were times that weren’t profit making, but now we seem to sell out really quickly, and it’s as much as we want to do. Caro lives in France now, so we are self limiting to when she comes ‘home’ but also planning a summer school at her house in France next year! We are kicking off this term with a new assistant teacher, Christine Mavromatis, if it works out it will be less stress for both of us, and it can still be fun!

What are your influences/inspirations? Which artists do you most admire?

My influences are every other face paint I’ve ever seen (and there are lots) and I go green with envy when I see something really good! The people I would say I respect and am inspired by the most are the Wolfe brothers, Lynne Jamieson, Brian Froud, Olivier Zeggers, Jinny, Nellie Recchia, Nene Thomas, Jessica Galbreth, Melanie Siedsma (what happened to her?), Raphaelle Fieldhouse, Craig Tracy.... not necessarily in that order and all for different reasons, some because they made me re-think face painting, some because I am in awe of beautiful work on bodies or on paper/canvas, and Mother Nature is always a mind blowing inspiration. Most times inspiration comes because it has to, in response to a brief, and all the stuff lurking at the back of the brain is forced forwards. Other times an idea just comes to me, but you need some skill/research to make it happen.

What is the creative driving force behind your work?

Creativity just is. This is one way of expressing it, and we’re lucky enough to get paid for it most of the time! I don’t believe that anyone can just busk it without putting some effort in, whatever inspires you – investigate, practice and be really inspired. It is possible to copy others, but it won’t look the same, or feel the same, there is a certain joy to it coming from your self even though others have opened up unthought-of possibilities.

Whats your favourite paint?

Like most of us I have all sorts in my kit unless I’m demonstrating for a particular brand, in which case I will miss having something or other! I even got daVinci to make a special brush for me so that I could paint using only their brushes in Austria! The main brand I use is still Grimas, I do believe it is the best all rounder, I just wish they were a tiny bit innovative or experimented with some new colours and things. Or even understood facepainting these days.

Has winning the FACE facepainter of the year and now the world title affected you in a business way?  Or do you expect it to?

Winning awards hasn’t affected my business at all so far, but then I haven’t made an effort to shout about it! I do worry that people with think I’m dreadfully expensive (perhaps I should be) and pass me by as an option. I’ve never expected to win any of the competitions that I pretty much accidentally entered, so it wasn’t part of a ‘business plan’ at all. It has given me the opportunity to review where I stand and where I want to be in the future, and feel I can now perhaps lessen my work load a bit having ‘proved’ something to myself if no one else. I don’t like competitions as I’m neither comfortable with winning nor losing! And who’s to say what’s best?

Do you plan to go back to Seeboden next year to defend your title?

If I can find the time to drive there, yes! It is an amazing event. I have a problem with my ears from flying that seems to happen every time I fly now, and it takes weeks to get over it. It’s also exhausting to feel like I’m losing my balance all the time, and can’t do much for my painting!

In an ideal world given that you will now be in even more demand would you prefer to teach / demonstrate or do one off artistic commissions?

In an ideal world, my house would be tidy and I would paint what and when I felt like it on anything! The truth is that I have too much stuff and only get my finger out to paint when I have to! I don’t see that I will be in more demand, it’s a small world and the people who book us aren’t that clued in to these things. Demonstrating is VERY stressful, and I don’t do it lightly, nor is anyone paid well for it, most seem to be flattered to be asked.

What would your idea be of the perfect face painting job?

The perfect facepaint job, does it exist? I did a very nice one that I thought was going to be awful just after I came back from Seeboden, and it was just that the pace was nice, the people were friendly and had the right idea about what I could do. And the weather was perfect which helps a lot if you are outdoors! It was very funny as the event was for the people that maintain the Underground, and they had shut the line that brought people there! Hence the nice pace I think. The best jobs haven’t been planned that way, they just go right, and it can be anything from a small private party to a big prestige event. My potentially perfect (if formidable) job was body painting Grace Jones a while ago. After waiting for many hours I ended up with 15 minutes to do what I could, and I can’t say it was perfect, but at least I got out alive and even adored!

What’s the strangest thing that’s ever happened on a job?

Being threatened with murder! That has to be strange. Croydon won’t be seeing me painting again as I’ve had repeated bad experiences there. Sorry Croydon, but you suck. And whoever designed your one-way system needs a good thrashing.

What are your plans for the future?

I wish I had time to make some plans for the future. I want to go to Puglia in Italy to investigate the Trulli round houses there; I have a strange desire to live in a round house, mine only has a half round bit. And they make great wine, fair weather, no Congestion Charge and as far as I know Ken and his control freaks have no interest there whatsoever.

Have you any plans to produce a book?

A book on what? I have several up my sleeve, a children’s book about crop circles and other magical things, one on politics (with a small p – that means as they affects us) and yes ok, one on face painting, commissioned but forgotten about it seems (any takers?). But they would all keep me away from my Trulli, maybe after I have moved there I can fill the long empty days and candle lit nights, shadows dancing on the gently curved walls - indistinguishable from the ceiling, a glass or two of Pinot Grigio ....

Biographical info

Reproduced with kind permission from:

http://www.facepaint-uk.com/index.php?option=com_content&task=view&id=17&Itemid=32

Profile: Like many, first painted faces at her children's school fair, realised how difficult it was, but fun! Now one of the most experienced face painters in the country, her background in graphic design combined with her natural creativity brings a precision and degree of perfectionism to her work that few can emulate.

 Experience

Facepainting 1990 -
Formalised facepainting activities as Let's Face It! which acts as a network of London based facepainters of quality.
In the early days, obtained regular bookings for Esso, Mercedes Benz, London Zoo, IKEA, many supermarkets, most London Councils, BBC Children in Need, Disney, Warner Brothers, Penguin Books, LPO, RPO amongst many. Clients now range from corporate events, agents, public events, private events, promotions, advertising, film premiers, photography, and more recently adult "extreme make-up" as performance entertainment. Let's Face It! now specialises in all forms of Body Art from Facepainting to Body Painting, Temporary Tattoos to Henna Art and expert Airbrush work using the most appropriate artist for requirements. It remains personally run by Bibi.
 
Carnival Make-up 1994 -
A previous history in Carnival costume making opened the door to this particular field. Bibi is now regarded as the top specialist in this art form which entails organising painting hundreds of people quickly and beautifully. Her work has had a recognised impact on the standard and style of make-up in Carnival.
Make-up artist and designer for South Connections Carnival Band for performances throughout the UK.
Tutor for Morley College, taking the art to many groups, enabling them to enhance their individual style.
Tutor for Kinetika who organise Carnival events throughout the UK.
Make-up Artist for Notting Hill Roadshow in UK and Hong Kong.
Lead Artist for Tate Gallery and Victoria & Albert Museum Carnival exhibitions and annual Black History Month.
Tutor for Mandinga Arts.
Make-up artist and designer for Flamingo Carnival Band.
Lead Artist for Sadler's Wells Brazilian Carnival

Lecturer/Demonstrator
Demonstrator for Treasure House of Make-up.
Lecturer - Aylesbury College & West Herts College- Airbrush body painting techniques. 
Demonstrator of Graftobian Airbrush products.
Demonstrator of Ben Nye/Mehron products for Treasure House.
Lecturer - Westminster College - Facepainting, Body painting, Temporary Tattoos, Airbrush techniques.
Tutor/Demonstrator for Morley College.
Demonstrator of Kryolan Airstream airbrush products at International Make-up Artist Trade Show 2005.
Tutor in Facepainting for Charles Fox/Kryolan products.
Tutor in Airbrush Body Painting for Charles Fox/Kryolan.
Demonstrator of Grimas products for A&A Studios.
Workshop tutor at Festival of Colours, Freiburg
Demonstrator of daVinci brushes – World Bodypainting Festival, Austria

London School of Facepainting  2003 -
Opened the only school dedicated to facepainting with Caro Childs of Lococo.
Tutors for UCL - student volunteer course.
Developing a range of courses in specific subjects for varying levels of aptitude.
Organising the Demonstration Stage for Warpaint at Professional Beauty 2005 for all exhibitors.

Awards
2002  Best Design (1st)  The Facepainting Association
2002  Facepainter of the Year (2nd) The Facepainting Association
2003  Best Design (1st) The Facepainting Association
2003  Facepainter of the Year  (1st) The Facepainting Association
2007  Facepainter of the Year  (1st) The Facepainting Association
2007  Best Technical Ability (1st) The Facepainting Association
2007  Best Design (1st) The Facepainting Association
2007  1st Place World Facepainting Awards - World Bodypainting Festival - Austria
2007  14th Place World Bodypainting Awards - World Bodypainting Festival - Austria

Recent Projects
"Urban Myth" Carnival Project (Urban Faeries)
Promotional face & body painting designs for Grimas products in UK.

Other areas of specialisation and interest
Costume Making
Eschatology
Costume making credits include "Teletubbies" body construction and production of large scale costumes for "Rhino Drum"
1975 - 1996 Owned and ran Graphic Design Studio "Art Attack"
1975 - 1982 Manager of 606 Jazz Club
Consultant to Paleo Festival, Switzerland
Consultant to Montreux Festival, Switzerland
Concept Director for Organisation Europa Rocknight
Music Promotion business - amfm London Ltd.