Fatboy Slim: The Archivist; A peek into Norman Cook’s private collection

 Norman Cook, AKA Fat Boy Slim, in his Smiley-Face guest room. Photo courtesy of Delia Cabral

By DELIA CABRAL December 22th, 2025

After reviewing RYCA's exhibition DEEP at Helm Gallery, Brighton, I was invited to visit Norman Cook, better known as Fatboy Slim and easily one of the most influential DJs of our time, at his seaside home in Hove. A major collector of RYCA's work, Cook offered to tour me through his personal collection. I decided to walk along the beach to reach him, taking in the iconic Brighton pebble shoreline on what turned out to be a gorgeous morning.

Cook welcomed me warmly, and from the entrance, it was immediately apparent that art plays a significant role in his life. Four Keith Haring prints greet visitors at the threshold, their now-iconic graphic angularity rendered in yellow, black, brown and red. When I remarked on the colour palette, Cook revealed that he is colourblind, a detail that deepens the significance of these works. He explained that this suite of limited-edition prints was his very first art purchase, acquired during his inaugural American tour as Fatboy Slim. Just across from the Harings hangs a massive installation devoted to his smiley-face collection: objects large and small, amassed over decades, in cheerful, optimistic yellows.  

Fig.2 Smiley/ acid-face collection in Cook’s entry. Photo courtesy of Delia Cabral

Norman Cook built a career and made history by sampling and remixing sounds to create the soundtrack of a generation. He applies the same philosophy to his art collecting, engaging directly with artists, commissioning collaborations, and actively shaping the work rather than passively acquiring it. Both Haring and Cook were creatively influenced by hip-hop culture and music. The visual and audio connections are undeniable and fascinating.  

Hip-Hop shaped Haring's work.  DJ, muse, and long time friend Juan Dubose's beats were often playing whilst Haring worked in his studio. Cook's keen instincts drew him to an artist on the verge of shaping contemporary art, just as his own musical journey, from punk bassist to DJ, led him to sample hip-hop and house to create the Big Beat sound. Haring anchors Cook's broader collection, which spans paintings, prints, ceramics, and objects, including my personal favourite: a painted subway sign by Keith Haring.  

Among original works by Keith Haring, Cook has an extensive collection of all things Haring. Photo courtesy of Delia Cabral

The artists in Cook's collection demonstrate his instinct for what resonates with contemporary culture. His home is curated like his music: eclectic and joyful. The collection spans movements from street art and its Pop Art lineage to urban art rooted in counterculture, reflecting the intersection of graffiti and Neo-Pop. These movements share his own musical roots in underground club culture and remix aesthetics. Among the most prominent names are Bordalo II, Vhils, RYCA, Banksy, Kenny Scharf, Shepard Fairey, and The London Police, to name a few; both established and emerging artists are represented. Cook's sensibility extends beyond music into the visual rhythm of urban life. As a collector, he has built a body of work that mirrors his musical aesthetic, with street and graffiti art as a through-line. He may be colourblind, but his sense of cultural resonance is keen.  

Shepard Fairey. Photo courtesy of Delia Cabral

Diane Hampstead (Vintage Shuffle). Photo courtesy of Delia Cabral

Cook doesn't simply acquire art; he engages and collaborates with artists, and this, in turn, sometimes directly shapes the work. The commissioned pieces in his collection are examples of such collaborations with living artists. He shared some of these conversations with me. Bordalo II (Artur Bordalo), a Portuguese artist known for his large-scale murals made from recycled rubbish and usually featuring animals, was one such case. Cook has several fine examples of Bordalo's work in his home. As is often the case when an artist discovers that Cook is interested in their work, a dialogue evolves into a creative exchange. Here, it led to the commissioning of a giant seagull for the Brighton and Hove coastline, a sculpture that now proudly adorns the side of The Big Beach Café in Hove. Made from the city's discarded rubbish, including car parts, it is painted in parts and left raw in others. Observers can see the transformation of refuse into a new role: raising awareness of our environment. The reality is, when we throw something away, there is no "away." Matter cannot be destroyed, and we can choose how we use and transform materials, much like Cook's music, which is sampled, remixed, and transformed.  

Fig. 6. Bordalo II, Monumental Seagull at the Big Beach Cafe, Hove, UK. Photo courtesy of Delia Cabral

Cook's patronage has led to growing collaborations within the visual arts. His friendship with Bordalo led Cook to meet Vhils (Alexandre Farto), another well-known and influential Portuguese artist. This connection encouraged Cook's first foray into art curation. In 2019, he curated "Smile High Club" at Vhils's Underdogs Gallery in Lisbon, an exhibition that featured his extensive collection of smiley-face memorabilia alongside work by artists he admires, collects, and supports.  

His propensity to acquire smiley faces led him to the work of RYCA (Ryan Callanan), the artist I reviewed in a previous WhiteHot article, whose smiley-face work brought them together over 15 years ago. RYCA uses the smiley-face image across various media, from paintings to sculptures, and Cook, as a collector of smiley/acid-face ephemera, is drawn to RYCA's ongoing reinventions of this iconic symbol. I spoke to Callanan and asked him to provide further insight into his artist-to-collector relationship with Cook. He describes Cook as "an archivist" whose collection "isn't linear, always looking for both new work that hasn't been made yet and older pieces that passed him by”. I asked Callanan which of his pieces is his most memorable in Cook’s collection. He responded, "I made him a piece for his 60th birthday, which was a piece of toast with a smiley face on it... It was a resin casting of a piece of actual toast, but it looks like melted cheese, like provolone, almost.” Cook is also a foodie, so Callanan wanted to create a piece that celebrated Cook’s taste. 

RYCA, Smile Toast ( unique resin piece) for Norman Cook’s birthday. Photo courtesy of Delia Cabral

  Both Cook and RYCA are pioneers of a sub-genre within their disciplines: Cook pioneered the Big Beat sound, and Ryan has championed a sub-genre within street and pop art. Neither reinvented the wheel, but both reframe, remix, and recontextualise existing material for contemporary audiences. Ryan describes his own work as "new visual music" and notes that Cook's "eyes are open and his ears are open." Cook and RYCA share a long-standing friendship and collaborationship, he added. "I am working with RYCA on an animated TV series," he replied. "Most interesting!" 

Collections shelf in Cook’s home, Wooden carved busts, Assorted Artists’ Aerosol cans and RYCA figures. Photo courtesy of Delia Cabral

  Cook's audio sensibilities are visually present throughout his collection. Take, for example, The London Police (TLP), Chaz Barrisson and Bob Gibson, a British street art duo known for their uplifting characters in contemporary cultural settings. Their work is a well-balanced blend of masterfully hand-drawn characters in architecturally rich settings, incorporating joyful colour compositions that align with Cook's uplifting urban soundtracks.

London Police (TLP), Photo courtesy of Delia Cabral

Cassette Lord. Photo courtesy of Delia Cabral

Limited edtion photograph by Mark Vessey,  A selection of FatBoy Slim's influential Records. Photo courtesy of Delia Cabral

  Cook does not just buy art; he participates with artists, remixing alongside them and shaping culture while empowering the next generation. When I asked him about his collecting practices and how he identifies artists to collect, he replied, "I generally see their work on Instagram or bump into them at events." His answer reinforces Cook's immersion in the creative milieu. Cook believes art should be accessible and affordable to everyone. He is open, generous and actively working with many organisations. In his commitment to the democratic dissemination of art and to promoting new talent, he has partnered with Pepita Coffee, a UK-based ethically sourced coffee roaster, whose coffee tins have featured some well-known artists, and actively seeks emerging artists. Coffee tins that artists have long used to hold paintbrushes after the coffee is used can now showcase fresh talent.

Pepita Coffee tin, artist featured, Jayson Lilley. Photo courtesy of Delia Cabral

 Historical artefacts, Corner of Cook’s Studio. Photo courtesy of Delia Cabral

  My tour through Cook's home, filled with musical treasures, expanded my usual art world dominion. Under the welcoming guidance of Norman Cook, I discovered a collection that refuses to sit still, a collection that inspires happiness like the many smiley faces dotted throughout Cook’s home. As I walked back along the Brighton beach, lined with colourful beach huts, playing Fatboy Slim, my mind was swimming with pictures to go along with the Big Beat. Just as Cook samples and transforms sound, his collection samples and transforms the visual landscape of our culture. The art world could use more patrons like him: eyes open, ears open, always looking for the next remix. 

Norman Cook in his home. Photo courtesy of Delia Cabral