the coconut thing

“Look, I found something to show you” he says, walking in the direction of the fruit aisle.

“What?” I say, catching up at the chicken.
“Look” he’s still walking away from me.
“What IS it?” I say, jogging past the leafy greens.

“There” he says “look in there”.

He’s pointing into a low-lit cardboard box. There are three coconuts in it and the way the light hits them, I think there’s mould growing on them and have to muster some effort to take a step towards them.

Mouldy coconuts? That’s what he wants to show me? I’ve been hating myself for 60 minutes on the crosstrainer and he wants to show me damp exotic fruit. It’s sweet, I suppose, given how I always ALWAYS point and say “aw, lookcoconuts, aw!” but I’ve been sweating from my elbows, godfuckit and I can scarcely stand upright.

I step forward (“Uuuuuuuuuurgh” goes my inner dialogue) and I see that no, it’s not mould. They’re just coconuts. One though, has a face. And I say “Aw, a sad coconut, aw”.

“Should we buy it?” Ideal Brown asks.
No. If I buy it, I’ll eat it and I already eat too much face – and this one looks intelligent to boot

Emotional Tesco coconut

I take a photo. He laughs.
“What?”
“No, it’s just that I took one too”

We go home. Shower. Feed. Sofa.

Before I head to bed I remember the coconut and post the photo on Twitter. “Emotional coconut in Tesco. Shaaaaaaaame.”

Today however, I awake to retweets. Lots of them. Over 100, which for me (in the realm of cat and painting photos) doesn’t happen. So I was shocked. More so because people were commenting. Getting upset. MrsWhyAye (Sunderland) said ‘That coconut’s made me feel dead sad :-(
Someone else likened it to a seal pup.

Shit. And I left it there. In the box. All these people care about the coconut and I left him behind (note: “him” not “it”) behind because of my fear that if I didn’t, I’d go home, crack his little head open and transfer his glorious natural fats right onto my thighs – the ones that worked so hard the night before that sweat ran down my back and pooled on my arse, as if I literally shat exhaustion.

Tesco Customer Care tweeted at me: Poor emotional coconut! #savehim

“Fuck! The mothership is sending me orders!” I needed that fucking coconut. “Think, quick!” Unless winning them at a carnival on the town moor, do Geordies even like coconuts? Is there actually a chance that someone, between the hours of 19:00 and 9:00 would have thought to go and buy one? Other than for the obvious reason: that they saw the poor face and couldn’t walk away without it – because no decent human being could see a face like that and leave it to rot in the dank reserves of Tesco’s unsold coconuts, forever in the shadow of the mid-winter banana glow.

I ran back to the store. Ran.
And when I got there, I found that the staff has replaced 3 coconuts with roughly 40 coconuts.

There’s no amount of good-natured chuckling that covers “I know I look unhinged, but this is for a thing. You’d get it if you were on twitter this morning” as you unpack two boxes of coconuts in the middle of tesco, peeling their barcoded stickers off to reveal “the expression” on “their faces”.

That’s what I’ve always loved about coconuts; they all have both of those things. The Tripp family ritual was a brutal one; when my dad came home with a coconut, my brother and I would cheer and race to garage where my father would grip it in the vice so we could tear the hair out to reveal the face.

He’d say “See, Candy? It’s a face!” and I be thrilled and then we would watch as he drilled through both of its eyes.

My brother liked the coconut milk. I didn’t. My brother LOVED the flesh. I loved the idea of it but could never actually manage to eat much of it. I love the slaughter. The pulling apart of a hairy ball to reveal an ugly face that we could drill through. I also loved Kinder Eggs.

I started to panic that the first face I saw would look as much like the emotional coconut as the second, third, and fourth. I pulled out my phone and held the photo up to ever brown ball. I felt like an agent in a b-grade TV crime drama, standing at the back of a white van with its doors thrown open to reveal 40 smuggled faces peering out at me in quiet, desperate horror.

“That’s the one” I thought, high with glee and then suddenly sick with guilt – because of all the others. I couldn’t save them all.

I saved one though, the important one. Its face was turned downward, toward the floor. I had to hunt it down.

I showed Ideal Brown. “It’s not the same one” he said.
I turned it around and he said “oh shit! It is!” and confirmed it by holding up his own photo on his own phone.

Thank fuck I got him, because by the time I arrived back at my studio (the space I now rent in town, from Ideal Brown’s office) Adrian Edmondson had somehow seen my tweet and retweeted it. He got behind the sad coconut cause and with his 55 000 followers, I knew that my tweet was going to be repeating on me for an unknowable number of hours.

“Thank FUCK” I thought. “Thank fuck I went back, because now I can show them this!


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Print update

This is a tentative update on the print release and while it only pertains very generally to the size I want to go for, I realise now that I’ve never actually posted a photo of the completed painting that we’re using for the edition.

Of the three sizes Black Rat sent me (digital reproductions) I favour the largest.

It matches the size of the canvas, which is 36″ x 36″, so it should be a big ‘un (supposing Mike at Black Rat is still game to go large).

Here it is, in Thought’s meeting room, pinned down by coffee mugs and keyboards:

Tripp print, This Will Hurt Tomorrow

By the by, anyone thinking “Jesus fuck, that’s a whole ass-load of frame I’ll have to summon up, can’t they just crop all that negative space off? It’s doing nothing”

We tried that and it doesn’t work at all.

There’s actually a decent photo on Neo Collective. Just scroll.

It’s called This Will Hurt Tomorrow and if “Can You Smell Burning?” is anything to go by, it will be ten colours or more. With a hand finished edition too.


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gogol bordello work in progress

Gogol Bordello story


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pushing paint around

I’m working on some illustrations for a story written by Gogol Bordello.

Until I can give any further details, here are some process photos of Trickster and the boy with a crooked grin:

Gogol Bordello, illustrated by Candice Tripp
Gogol Bordello, illustrated by Candice Tripp
Gogol Bordello, illustrated by Candice Tripp
Gogol Bordello, illustrated by Candice Tripp


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new year, same you

Welcome back.

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Happy Holidays!

Thank you all for another year of support. All of your retweets, #FFs, “likes” hearts, just taking the time to browse around here- I really appreciate it and wish you all a very Merry Christmas and hope that we can carry on doing this because it makes me SO happy.

Candice Tripp Christmas


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Fa-la-la-la-laaa, la la la lah.

On Sunday Ideal Brown and I went to go and get a Christmas tree. We’re not going to be around for Christmas- or New Year for that matter, but why not drag an arm of nature into the house and festoon it with bright shiny breakables for the days dotted around the two holidays?

Indeed, they’ll be the ones on which I can say what I think, control the TV remote and above all, not have to agree with things I don’t believe in for the sake of saving myself a petty discussion that will just shorten my life. That’s what Christmas is about, isn’t it? Being stuck somewhere.

I mean, I always love the people I’m stuck with (sort of) and for the most part I really enjoy it- but I am stuck and every year I do wish my company into oblivion. I’d wish myself into oblivion, but then who would feed the cats? Come on.

There’s a loft alcove that we call “The Hole” which is allocated “for shit”. Example “I just went into The Hole to get the Christmas garb. You can do it next time. I’ve had it. Jesus Christ, there’s so much shit in there.”

When we were at the tree shop (a rugby club that had sold space to a couple of guys selling felled Nordman firs) I hooted “Ooh, this will be Little’s First Christmas”.
I say these things because I’m
a) gently mocking new parents and
b) because I’ve realised that we have a bag of “unknown reactions” to discover when we introduce our kitten to a vast thing peppered with dangling bits. Above all there’s reason
c) and that is: I like to press the ceremonial underwhelming with a trite announcement that nobody gives a fuck about. Not me. Not Ideal Brown. Not the cats.

We didn’t actually call our cat Little. It’s just that we already have a cat and given that he’s older, he’s also bigger than her and on top of that she’s really small, so often I just find myself saying “where’s Little?” or “I’ve fed Little” or “have you seen Little? Big’s upstairs, but I can’t find Little.”

Big’s real name is Stanley, a name that has since been butchered thusly: Stanley> Stan> Tan> Tanny-Tan> Stink> Spotty Back and bird (for when he sits on the floor because he looks like you could put him on a pond surface on which he would float, duck-like)

Little is actually Brodie.

This is all to say that when the Christmas tree was torn asunder (not really – it was just knocked over) I figured we were partly deserving of it.

Ideal Brown flew into a rage “Fuckit, I know it was Little! Right. Right! Get her. Right LITTLE!” He says “right” a lot when he’s losing control, which is funny because I think it means he’s grappling for some and it’s not aaaaaaactually the thing you say when you’re slipping.

I wouldn’t actually tell him this, but I was so glad the tree fell over. I’ve been verging on losing my shit for the last few days. When the tiny things that I can’t control mount up, they all just chip away at the ol’ mental demeanor and I start to crack. A tree on its side isn’t cancer or divorce or a choked bank account.

Indeed, it was the best fuck up for me to take on given the simplicity of the situation: if something falls over, you can set it right again. And I did.

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Q&A with blake lively on her art collection

I didn’t know much at all about Blake Lively’s art collection until yesterday, when I saw this Artlog post on Twitter. It’s so cool to see that she collects according to taste, regardless of how established an artist is.

It takes a collector with balls to do that*

A Memorable Lesson In The Permanence Of Asphyxia

*cue raging argument about art vs money and whether your purchase is swayed by investment value over buying something potentially worthless that you adore all the same.


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Shipping to London

My shipping guy’s name is Andrew.

I email him with the What Where and When. He replies with the How Much and Crunch.

The Crunch is the time we arrange for him to come and make the collection. To explain, I really hate handling my prints; they’re so easy to damage and if I do, I’m letting down a whole string of people who have or are scheduled in to be part of the job to make sure it successfully navigates all the little obstacles that pop up between “start” and “finish”.

Ideal Brown’s family talk about throwing money at a problem: If you chuck enough dollar at something, it will usually stop being an issue (like AIDS). This is obviously a luxury for people who have dollar to throw around. It’s something I’ve picked up on but only works to a point with prints. Suffice it to say, there’s no other or more able bodied “me” I can pay to check and sign the edition. There is however, someone more capable of packing work for a shipment; and that’s Andrew.

I want to know that I did everything I could to prevent a canvas from getting damaged in transit and that’s paying a professional to do a job I’d likely fuck up.

This morning The Crunch spanned 8am to 10am, when Andrew arrived to collect four canvases, due to be sent to Black Rat Projects for my show with them next June. The hours leading up to The Crunch are when I paint the sides of the canvases in acrylic, so they look all clean and decent and presentable.

While they dry, I have to sit around and wait. I can say with the utmost confidence that the worst time to notice something you’re unhappy with, is in the last two hours you have before it gets sent away. I might be able to work fast enough to rectify the situation, but oil paint will just never dry that quickly.

I hate The Crunch. It’s a drawn out yet frantic slice of time in which I think about how dissatisfied I am with my own ability as a painter.

But then Andrew arrives and I can’t say “do you think this is too shit to send?” because there’s no more time left for dithering and most likely, a fuck is precisely what he doesn’t care to give.

So anyway, that was my morning; I sent off four canvases. Now I can relax; there’s still time to GET BETTER and I don’t have to stare down my own work anymore.

One time I awoke at 4am to find all four canvases crowded around my bed, watching me sleep.

Here’s the next one on the way:

Work in progress 01 TrippWork in progress 02, candice trippWork in progress 03 tripp


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dead hare

Candice Tripp illustration

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