Damien Hirst with his sheep, and the rest of the farm sliced and pickled in formaldehyde, has reinvigorated the eternal debate of what is art today. The sapient projection of the “personal” character and/or “performing” artist on various medias has contributed towards propelling him as a worldwide artist.

Vivien Westwood exploded in the eighties with her controversial fashion creations and signifies the last quarter of the century in the world of international fashion.

Peter Greenaway with his quintessential cinematography (The Belly of the Architect, The Draughtman’s Contract, inter alia) is today a very important reference for creatives, artists, directors etc.

Charles Saatchi’s unique patronage, thanks to whom investments have sometimes been carefree, has given him recognition as a highly capable talent scout. He managed with his brother to dwindle the fortune created by Saatchi & Saatchi (advertising company) but subsequently in the last ten years he resurrected his position, placing himself as alternative solution to institutional art. Besides the Londoner’s historical museums he offers with Saatchi Gallery the vision of “another” art.

Those are some of the outsiders of the UK creative scene rich with reputable names: I refer to Foster’s “Gherkin”, Sam Taylor-Wood with her 360 degrees of emotional photography, Wolf Olins with his outstanding communication campaigns, Anish Kapoor and his “architectural” sculpture, Andy Goldsworthy with his land art. Such a rich “reality” often suggests exaggeration / publicity stunt.

Strangely in the last century only a few UK artists emerged, whilst today the UK is pointed as a cradle of creativity in Europe. This reality is the fertile combination of different cultures in a very rich and stable economic condition. The tangible diversity of London exists in the universities, socially, culturally and all contribute to fuel the London phenomena.