Creatives in Practice: Freddie Peacock

The Modern-Day Polymath.

Interview: Thomas Woods // @thomaswoods_
Photographer: Feyi Okusanya // @feyi_

Being a true modern-day polymath, Freddie Peacock refuses to sit still. Building a distinctive world as an all-encompassing artist, Freddie has risen the ranks of the UK art scene in style, and at just 23, it’s hard to see that slowing down any time soon. From the small town in Bedford and some of the biggest stages in the world to a Louis Vuitton design award and artwork for M Huncho’s The Wizard, which went No.1 on the UK Hip Hop and R&B charts, Freddie Peacock’s list of accomplishments is just as extensive as his artistic range.

A graduate of Central Saint Martin’s, Freddie’s rise is rooted in the city of London, but off of his own back he’s reached every corner of the globe. Whether it’s working alongside fashion’s finest and Arsenal baller Eberechi Eze or his charity-led t-shirt projects, he’s an artist very much born out of London’s necessity to hustle harder, and hustling he is. Continuing to fly the flag for modern-day artists everywhere, Freddie Peacock is spreading his wings once again, debuting his latest artwork, titled “THE WORLD’S BIGGEST TENNER.” Sitting down with PAUSE, we catch up on what it all means, his creative process and the journey’s “watershed” moments, as well as what’s next in his wheelhouse.

Check out the interview below.

For those that are unfamiliar with you and your work, introduce our audience to yourself and the world you’ve created.

FP: My name is Freddie Peacock, I’m a 22-year-old artist & designer. My work spans painting, sculpture and just making cool stuff really. My story’s in the work.

Was there a “watershed moment” for you in your artistic journey? What did that first artistic dopamine hit feel and look like?

FP: A few to be honest, I’m always chasing the next level I can take it. But if I had to think of that moment for me starting out; it would be when I showed my work to JME. I ended up making a painting for him. I think he loved it, but I was 18 so it probably sucked… Since then, I think having my work displayed on the main stages at Reading and Leeds festivals… last year for Songer’s homecoming shows was pretty special.

Can you dissect the differences in forming a sculpture and painting a piece of art? Do you get one thing from one creative lane that you don’t from the other?

FP: I think starting to make sculptures has given me freedom at a time I really needed it. I have a very practical brain, painting can often go through so many uncontrollable changes before it is complete, whereas the sculpture’s I’ve set out to make have had very clear forms they need to reach in order for it to work. I guess I’ve found comfort in that of late.

You’re once quoted as referencing Bari, Virgil, and Kanye as some core inspirations. Does that still ring true? And if not them, then who?

FP: The thing with those three in particular is that when I was growing up and first becoming obsessed with the culture and the idea of world building, they were the ones who people turned to for what was going to happen next. I watched each of them touch the culture in so many ways during my early teen-hood. Whether it was through music, art or fashion, those guys taught me what it was to world build through a screen. In a sense, they created my childhood dream.

Talk to me about “THE WORLD’S BIGGEST TENNER,” your newest piece. What drew you to the humble £10 note?

FP: I’m always searching for new contexts which I can expand my world into. This project was an homage to Banksy’s Diana £50 notes and an opportunity to produce something special for my supporters. Creating something as impossible as the world’s biggest ten-pound note and then turning it into something as relatable and nostalgic as the life-sized notes made them feel even more important for my supporters to get a hold of. They sold out in under 60 seconds, a day before general release.

What musician would be on your bucket list to create an album cover for?

FP: There’s a few to be fair. Some names on my vision board – being from the UK – are Dave, Ed Sheeran, Calvin Harris and Adele. I feel like I would align with each of them individually in terms of taste, but also because I’ve listened to their songs all my life – I feel like I’d be a good visual translator. Justin Bieber has also always been up there for me.

Where does London rank in terms of creativity? In your opinion, is it the best city for you to draw inspiration from?

FP: London is so creatively enriched, but it’s hard to draw inspiration from a place that so often doesn’t want to see you succeed. I’ve always said that what inspires me most is where I’m headed, and that isn’t London for me. I enjoy the sun, travelling, being outdoors, blaring music and sharing good times with people I love… I want you to feel that in my work.

What does your creative ideation look like? Have you noticed patterns in the order in which you bring an idea to life?

FP: It usually starts in the shower. I seem to always have the best ideas there. I’ll repeat and build on an idea out loud until I’ve got so much in my head that I need to get out and write it down before I forget it. From there, I’m a very obsessive worker. I’ll fall asleep thinking about what I’m working on and spring out of bed to work on it. The overall pattern is that I just make things I need to see exist.

A great writer once said the following: “Imitation is the sincerest form of flattery that mediocrity can pay to greatness.” How true is that for you?

FP: I guess like most things it depends on your intention and where you are on your journey. I wouldn’t say that a kid who DM’s me a drawing they did of my character in school is mediocre – they might actually be on their way to greatness.

From album art and sculptures to publishing your own colouring book, you have hit so many cultural touch points. What’s next in your wheelhouse?

FP: Every year has to be bigger than the last, right? The further I get, the more I just want to make things that make me feel good. I also think balance is important, so as always, expect variety in what I put out and who I work with. I’m looking forward to more chaos.