Category Archives: Interview

Eugene Grant: “I prefer the term dwarf”

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Eugene Grant is a dwarf and the founder of the viral site EveryDayDwarfism that chronicles the day-to-day experiences of what it is like to be a dwarf in 21 century Britain. Despite his experiences, Grant is optimistic that he can contribute to changing people’s understanding of dwarfism. Steve Hynd caught up with him to find out more.  

For many readers the term ‘dwarf’ is one they are not familiar with. I know some people are nervous about using it, afraid that it is derogatory. Can you tell us what the word means to you?

I personally much prefer the term ‘dwarf’ as opposed to others like ‘midget’, which many dwarfs I know find offensive. But, for me – and this is where the whole idea of political correctness becomes redundant – what’s more important are the intentions behind the terms used.

People can be ‘politically correct’ but employ such words with malicious intent; others may use quite derogatory terms without any idea or intention of insulting or hurting a person. It all depends on the way such terms are framed.

Can you tell us a little about why you set up EveryDayDwarfism?  

The aim behind EveryDayDwarfism is to document and present just some of the things that I – and my partner who also has dwarfism – go through during our day or week. Its purpose is to try to make people just that little bit more aware as to the things we encounter as dwarfs.

A lot of what we experience, I would put down to stigma and discrimination still being relatively acceptable to lots of people. The whole tone of the site is not supposed to be angry or ‘martyr-ish’, but relatively neutral, matter-of-fact and informative.

It’s to say: ‘these things happen, quite regularly. I just wanted you to know’.

Within the EveryDaySexism movement, there is a strong feeling of finally ‘shouting back’. Within EveryDayDwarfism it also feels like there is quite a lot of rage, is this an important element of responding to discrimination?

It depends what you mean by rage. Rage is very important but it needs to be channelled in the right way and used very carefully.

Leaving out abuse in the form of physical violence, I think when responding to discrimination it’s vital to ask oneself: ‘what is it that I want to achieve here?’ and, more importantly, ‘how will I get this person to change the way they think and act towards me and others like me’.

Can you tell us a bit about how you coped with the attention and discrimination before you started chronicling it on EveryDayDwarfism?

It really depends on two things: the type of abuse, attention or discrimination, and the intentions behind it.

Some abuse – e.g. an individual shouting insults from a moving car – is best left ignored. What can you achieve when they’re 100 metres down the road by the time they’ve finished their sentence?

Others – the attention from a small child for example – is normally fine; although, as I wrote on the site, it’s often the reaction – or lack thereof – from the parents that is the most frustrating thing.

Some abuse though might manifest itself in the form of totally unprovoked physical violence or confrontation.

Have you been in contact with other dwarfs, how do they feel about EveryDayDwarfism? Do others relate to your experiences?

It’s very important that people don’t think that EveryDayDwarfism or my own experiences reflect those of other dwarfs; I can’t speak for them. Not even my partner.

However, I do know that lots of people like me experience such things – sometimes less so, sometimes more so.

If you had one message to the metaphorical guy in the street who tries to take a photo of you with his phone, what would it be?

Just stop, for a moment, and think: What are you doing? Why are you doing this? Why would you or your friends find that photo or film to be of any value or interest? What does that say about your character, as an adult, and how you think about and respond to people who are different? What if I was your brother, son or cousin? How would you see it then?

A bit of a long message!

You wrote for the Guardian about the portrayal of dwarfs in the media, do you see EveryDayDwarfism as an effort to counter some of that through the illustration of agency?

Not really, no. Sadly, but also deliberately, EveryDayDwarfism documents some of the negative things that happen. And in this way, there is a negative tone to the blog.

What I was trying to say in the article you mention was that there needs to be more boring, regular, neutral representation of dwarfism in the media – weather reporters, Masterchef contestants, Question Time panelists, kids on CBBC – whatever.

Basically, more portrayals of dwarfism that do not limit that person’s identity to ‘a dwarf’ but reflects what they really are: a citizen, a parent, a doctor or lawyer, a voter, someone with views, ideas, etc.

What has been the reaction of family and friends to EveryDayDwarfism, are they shocked to hear of such day-to-day encounters? 

It was actually as a result of encouragement from friends to set up EveryDayDwarfism that I did.

Often friends have no idea of the things that I – and lots of others like me – encounter on a daily, weekly, monthly basis. Some have even been in situations with me when there has been abuse or something happen. Quite often, they are absolutely shocked at the way some people behave. It’s not a question of going looking for abuse or discrimination – that’s not a productive or positive way to live – it’s that, a lot of the time, this stuff finds youseeks you out, interrupts your day, your evening, when you’re just trying to live your life. And that’s what I wanted people to realise.

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“You cannot be happy to see your dad suffering…”

This is an article that I wrote for the Africa edition of ehospice.


Mutagubya Bruno is the son of Lawrence Ssenyonde. Lawrence has cancer of the prostate and needs oral morphine to relieve his pain. Bruno recently talked to ehospice about what life is like caring for a family member in severe pain.

On the outskirts of Kampala, Mutagubya Bruno lives with his mother and father. A small alleyway leads to a neatly kept garden that is lined with palm trees and freshly hung clothes on a washing line. Bruno breaks the conversation he is having with his mother as a small delegation from Hospice Africa Uganda arrive through a side gate to their house.

In the living room, the three health care professionals sit in a line craning their necks to try and listen to Bruno’s father as he describes his pain. As Bruno’s father speaks, one of the nurses sorts through her case notes. She glances at the previous dosages of oral morphine Bruno’s father has received.

Throughout the conversation Bruno sits on the edge of a worn-out arm chair opposite his father looking on.

Read the full article here >> 

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Artist Richard Woods is “unashamed to be political”

This interview was originally printed in New Europe.


Richard Woods describes himself as “more social commentator than artist” and has been compared to the likes of Peter Howson. Woods is famed for his grotesque caricatures and macabre take on places, politics and people as he explores the “absurdity of human existence”. On the back of another critically acclaimed exhibition at the Garden Gallery in the UK, Steve Hynd met up with Woods to find out what drives the painter behind the canvas. 

Can you tell us a bit about your background – where did you grow up  and where did you study?

I was born in Harrogate, but moved with my family to Cheltenham when I was seven. My parents would often take me abroad, so from a young age I had already seen a lot of the world. As an only child I had a lot of time on my hands and spent most of my time drawing and watching cartoons, leading to an extremely active imagination.

Is there any one person that inspires you?

The artist Peter Howson has been the biggest inspiration on me. He’s the official war artist for Bosnia. I remember going to Art College aware of the fact I wanted to paint people but was unsure of how I wanted to do it. When a tutor showed me Howson’s work for the first time I was blown away. That’s when I knew the type of artwork I wanted to make -Distorted characters and stories which are rooted to real issues within society. All of a sudden I felt I had a real sense of purpose, that I was doing something greater than just painting a picture. Perhaps that sounds a bit egotistical, but I don’t really mind that to be honest.

Would you describe your art as political?

Yes certainly. When I first began creating social commentaries I was really focusing on the darkest aspects of the world. I was tackling the ugliest problems in society head on with huge dark boldly painted canvases.

But I was young and full of enthusiasm then, I somewhat reckless with my choices. I soon realised what I was painting could alienate some people more than inspire them – although all those early paintings are now in private collections. I wanted people to reflect on my art but also to enjoy my work visually. I wanted people to be inspired to also try and fix the problems I paint about

Are you an artist first, social commentator second, or vice-versa?

I think at one point I was more social commentator than artist, but over the past couple of years I would say I’m more of a visual artist.

Most of my imagery begins with the idea or the inspiration which can be a news headline or something as simple as a personal experience. That’s the foundations of a work before I indulge my imagination and build up a composition. As an artist my experiences and surroundings mould my perspectives on life. Artists create work in response to these whether consciously or not.

Is there a message or ethos behind your art? If so, is it important to you that people understand that message?

Yes I would like them to but at the same time I’m just like anyone else, I need to make a living and I want people to want to hang my pictures on their walls.

Visual art is essentially about creating something unique and aesthetic that visually people can enjoy. I am always trying new things out. At my recent solo show in Cheltenham I had quite a diverse exhibition to show people what I can do with a paintbrush. Quite often artists develop a comfort zone (including myself) which is actually quite anti-creative. To find true originality you need to experiment.

I have even been painting landscapes outdoors recently. I know, a bit of a cliché.

How have the UK’s coalition years affected your art?

The coalition creates a lot of interesting imagery. I did one painting of Cameron and Clegg titled “Cutting Corners,” which interestingly got a lot of attention in Scotland. It was sold along with some of Peter Howson’s paintings from The Braewell Galleries. I think people value a visual representation of the political issues that they cannot always articulate themselves.

Your art is often a grotesque reflection on life, does this reflect your personal take on life?

It’s definitely how I view the world. I always loved looking at the German expressionist paintings, like Otto Dix and Max Beckman. They were so grotesque and surreal yet held so much truth about the world in their content.

I really thrive on making work which has a cause or purpose. With my early work some people seemed a bit shocked by it but for me I didn’t see what was so shocking, it was just normality to me.

In complete contrast my more recent work which has seen huge ice cream cones filled with fluorescent ice cream has been really appealing to people, especially children. Yet they actually represent a number of dark topics including The Fukishima nuclear disaster and the idea of economic meltdown. This is a good dynamic, having people enjoy the visual imagery then afterwards can discuss the politics.

For more information on his art please visit http://www.art-spaces.com/richardwoods/

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