Graffoto Blog

Graffoto Round Up of the Year - Part 4

2012-01-08T11:02:00.011Z

Photos by HowAboutNo and NoLionsInEngland

And here we have it folks, part 4 of 4 in the round up of 2011.

This final look at the year now covers September all the way through to the end of December. Being that it was mild for the time of year, and there were a shed load of art festivals and paint jams in town, the surrounding areas had a nice smattering too.

Street art pastes and stencils seemed to be out of the window for pretty much most of this quarter, and I think that was also a big shift for the year. Good to see more talented artists grafting it at the side of a wall. Also nice to see lots of quick and dirty damage throughout town.

Rowdy/Horror, photo HowAboutNo

Rusht, photo HowAboutNo

Shane ODV, photo HowAboutNo

Roid MSK, photo HowAboutNo

D*Face in progress outside the Moniker Art Fair, photo HowAboutNo

And completed, photo HowAboutNo

Various, photo HowAboutNo

Gold Peg, photo HowAboutNo

A solid year for the machine of graff that is Probs. Think this is my fave piece he has done ever. (photo HowAboutNo)

I think we'll see a bit more of JimmyC in 2011 (photo HowAboutNo)

Motor, photo HowAboutNo

C215, photo HowAboutNo

, photo HowAboutNo

2011 was the year Ronzo turned his hand away from sculpted pieces to graff.....and a welcome turn it was. This piece painted with Conor Harrington

photo HowAboutNo

Evol impressively buggered about with scale this set of blocks making up a mini housing estate complete with Elk, Drax and Shun tags. Read more about his visit here

photo HowAboutNo

Banksy did quite a few street pieces, all outside Soreitch - consequently I didn't get off my lazy arse to photograph them. No bother, this was my favourite thing he did all year anyway.

General and most lovely damage . . . (photo HowAboutNo)

Swoon, photo HowAboutNo

This superb paste up by Gaia lasted no more than a few days and was fly posted over (photo HowAboutNo).

Revok/Roid at the most single hit "legal" spot in Shoreditch (photo HowAboutNo).

Don’t believe the nay-sayers saying the scene has tanked, looking back we have been overwhelmed with top quality shit on the streets of London in 2011. Stuff that should have got a mention earlier but just got missed in the admittedly random selection process includes:

Phlegm was down several times during the year

photo: NoLionsInEngland

One of the highlights of the year was the privilege of seeing Sweet Toof and Paul Insect collaborate on this stunning rooftop piece, and in case you missed it, the timelapse is here

photo: NoLionsInEngland

Elbow Toe

photo: NoLionsInEngland

This Chu sticker made us chuckle earlier in the year

photo: NoLionsInEngland

So that's it for Graffoto's round up of the action in 2011. At the beggining and at lots of points throughout the year it did seem like it was stale and not moving anywhere. Part of wanting to look back at the year at the begginging of a new one has shown that it was a busy and colourful year, full of lots of new names and techniques and people to watch in 2012.

The shift also seemed to go towards lots more "with permission" spots last year, I guess a big test for those shutters and areas may fall closer to Olympics time, when the council may decide to buff at random for no reason whatsoever.

Happy 2012. Fuck The Buff.

Graffoto Round Up Of The Year - Pt 3

2012-01-05T10:55:00.016Z

HowAboutNo rashly promised FOUR picture-rich blog posts to review what was up on London’s streets and alleyways in 2011, so I thought I’d contribute something at this stage covering the Summer months, mainly because with our productivity we might not complete this magnus opus until Dec 2012.

Dr D was present and correct throughout 2011, this particular poster reflected what we were all thinking but by pasting up on this scale on the A501, Dr D said it with a little more panache.

Small was beautiful throughout 2011,not only the likes of Isaac Cordal and Pablo Delgado (see VNA issue17 for an interview) but new to London’s streets were a collection of hand painted anthropomorphic pig sculptures by lovepiepenbrinck.

Italian artist Clet Abraham visited these shores early in the Summer and took the liberty of modifying a number of our street signs.

We didn’t see too much of Kid Acne on London walls this year but he seemingly did go out on a bombing mission one night in the company of Aida and Emma. Seeing my bike leaning against a wall on the fringes of the shot reminds me of the self inflicted stupidity that led to my bike being nicked from just 3 feet from me in Brick lane in October. Twat.

Stencils on old newspapers are Mr.Farenheit’s stock in trade, he (she?) certainly got up a lot throughout 2011. Supposedly the QR codes used in a lot of his paste ups do work.

Mobstr had a great year, frequently targeting street artist’s commercial agendas and, as in this one, the council buff.

Continuing to display a refined appreciation of vintage Burlesque as well as a faculty for hitting the high spots, Saki and Bitches turned out to be a continuing surprise and mystery – until her warmly received pop-out, sorry... pop up show in East London.

Ai Wei Wei had a piece running in Tate Modern in London and despite being unjustly detained in China for a long period was able to get these fearsome beasts up outdoors in London. OK, the courtyard, Somerset House.

Dain putting up some of my favourite paste ups EVER. This lasted 1 day and was then fly pasted over.

Stinkfish

C215 had at least a couple of trips to the UK in 2011, this was my fave from the year.

El Mac painted this piece shortly before going off to paint in the Bristol "See No Evil" event.

New names in 2011. . .

These artists may well have exhisted long before last year, but in 2011 they smashed Hackney/Shoreditch and Brick Lane . . .

Nemo

Nemo

Malarky

Malarky

Kata - who showed ealry spouts of activity in July/August...but not much else since.

Part 4 before the weekend is out....in your Face!

Graffoto Round Up of the Year - Part 2

2012-01-02T15:56:00.022Z

Part 2 of 4 in the round up of my favourite graffiti and street art action in 2011. Already a few days into the new year, this all feels so last year already. . .

All photos by HowAboutNo except where stated.

Probs

Various

Blam repainted his famous Oscar the Grouch piece (and possibly one of the longest lasting pieceof street art, it was up for nigh on 6 years, but was unfortunately buffed quite a while ago now) I think we all knew this one would never last as long. Painted on a legal spot in Brick Lane that had a lot of visitors this year.

Pablo Delgado proved to be an interesting newcomer, a slightly new take on stuff that could have just been tired and forgotten about, he made sure that he placed them in enough spots to be seen and at least he was an artist that was getting up regardless of any print release of self marketing campaign. (his work is available at Pure Evil I realise, but small hand limited editions only.)

Stik

A.ce

A wet weekend at home in East Sussex in May. Being at home means usually not much to be seen in the way of street art or graffiti - so I took up "urbexing" to fill in some down time. I thought nothing of seeing the odd bit of graff here and there in the derelict buildings....but was amazed to find my first real Paul Insect piece in an old abandoned girls school. . . . .

Myne

Back in January, a chance encounter with a young man on the streets was our first introduction to the colourful and angular world of ALO. Before too long ALO was getting up with spiky, twisted characters on board

Photo: NolionsInEngland

Raise a glass to Bortusk Leer who did more than his share to brighten London's corners with mad-cap fun.

Photo: NolionsInEngland

In April we got our first introduction to a man who came to pretty much own Shoreditch shutters before the year was out. Malarky continued to have a big impact throughout 2011 with High Roller Society hosting a Malarky presented Gocco Printing workshop workshop and a prestigious interview in VNA issue 17, still available here

Photo: NolionsInEngland

We lost two HOFs during the year, the second comes up later but regardless of the arts council lumberjack fest, nothing in the UK matched the cultural desecration the demolition of The Pit, RIP, wrought on an un-broken line back to the very beginnings of London graff.

Photo: NolionsInEngland

One of 2011's most brilliant street art campaigns was by the old master Ron English. Judging by the huge numbers of human-free photos that surfaced on the net it seems not many spotted that the speech bubbles were meant to interact with passers-by, as revealed on Graffoto here.

Photo: NolionsInEngland

Ad Skewville was over in the Spring. Apart the brilliant "Slow Your Roll" show at High Roller Society, Skewville dropped a number of stunning shutters on Roman Rd and Bethnal Green Rd including the pair above exchanging honest Brooklynite greetings across the street.

Photo: NolionsInEngland

Part 3 to follow soon which will cover the months of July to September.

Graffoto Round Up of the Year - Part 1

2011-12-29T21:36:00.011Z

Welcome pop pickers! A post I have meant to do for the last few years on Graffoto has been a look back at the year, be it a good or a bad one. The problem in previous years was that I just always ended up leaving it too late in the holiday, my bingo wings thus being held down by my own weight in mince pies and turkey leftovers and sapped of the energy to bother.

So whilst the intention this year was to start this post pre Christmas in the hope it kicks me up the arse to finish the rest closer to the end of the year, here I am a couple of days away from New Year's.... So it's more than likely that this will be a post that carries over into 2012. I'll split the year into 4 parts so as not to make the post so long.

A picture heavy and word "lite" effort it's about my third post of the year and certainly the biggest on Graffoto. My favourite pictures and work that has gone up throughout the year, starting right at the top of January. . .

All pictures are by HowAboutNo except where stated.

Cept & Sweet Toof

Nychos & Vibes

Photo supplied by Mr S. Toof

Philth (indeed!)

Kid Acne's Artfags (Spectre also on the decaying shop front sign)

Plastic Bones

Dscreet & Kid Acne

AMAZING to see Zezao work up in London in his unmistakeable style

Milo Tchais also getting up more than I remember in previous years.

Roa

In fact this whole spot got a lot of action in 2011, Mr Sperme popped up and knocked out this one. Shame there weren't many others.

Ranking highly as my fave piece of the year...and it's a sticker :( Sadly Stormie Mills didn't paint any London walls that I found in 2011.

Slipping in a little bit of South Coast action . . .I found a nice little spot closer to home in Hastings. Unfortunately I have only managed to go there once with a camera in hand. Must change that in 2012.

Michael De Feo had a show in London and left a few flowers.

A few artists hit the Grand Union Canal at Broadway Market one weekend in March, am not sure there was any event other than perhaps a meet at a local hostelry. . .

Xenz

Teddy Baden

Dotmasters

Just oodles of generic damage was often my highlight of the year...more in later posts but this was a big big fave. . .

Gold Peg did a few activist/occupy related pieces through the year (more later) This was the first and boldest, the ad company blocking the message out days later.

Tizer went to Leake Street and did this piece in amazing quick time. I think the squiddlywinkswould call this one SICK!

Gold Peg hit some of the most eye catching and clever spots throughout the year as far as I am concerned, proving as always that half, if not more of the work is all in the placement.

My fave other placed spot this year was a piece by Revok, which featured on his blog

Revok was later arrested in April 2011 for failing to pay damages to the victims of his previous vandalism crimes

So that's it for part 1 of this round up which covered January to March (at least in the order I found them, as mentioned some of the pieces are years old) Part 2 to follow soon covering, you guessed it......April to June.

Felice Varini – Cardiff Bay

2011-12-27T12:18:00.012Z

Photos: NolionsInEngland except: Tracy Lee Stum, Creative Tempest, iJuliAn, cgr v2.0

Tis the season to reminisce and having just past the shortest day of the year my bones yearn for the warmth of a gorgeous late Summer’s day in Cardiff, Wales when I came across a stunning “trick of the eye” piece of art by Felice Varini.

The technical term is anamorphic, an ugly charmless looking word, clumsy on the page and a bugger to explain yet what it defines can be amazing. We understand it mainly from the context in which it is used and that, so far as street art is concerned, is generally those road and mall 3D illusions of gaping chasms where smooth tarmac or faux-marble should be.

"Hot Asphalt", art and photo: Tracy Lee Stum

Chalk Painting: Kurt Wenner, photo: Creative Tempest

Anamorphic art is also used to describe the work of Felice Varini who paints contours, surfaces, corners and crannies in a way so that from one viewpoint, to the eye the whole thing appears like a flat proportionate image. It seems most of his work is done indoors but here are a couple of favourite examples of Varini in the wilds outdoors:

Felice Varini, "Cinq ellipses ouvertes”, Metz, 2009; photo: iJuliAn

Felice Varini, "Entre Ciel et Terre", 2005; photo cgr v2.0

Back to Cardiff, a rare return to the land of my fathers, I was gobsmacked to find out this piece, “Three Ellipses For Three Locks”, was created over about 10 days back in mid March 2007.

It hardly need be said that a lot of maths must go into calculating the geometry to fit into the available structures, and then a lot of surveying to determine exactly where to paint. The shapes appear as perfect closed ellipses except for one small section where techniques for painting permanently on water are not yet sufficiently advanced. The optical illusion persuades the eye that the shapes are perfect ellipses painted on a vertical plane in front of the viewer, they actually appear to lift off the surface on which they are painted and sit in mid air. The effect is giddying, this is high impact art, who needs drugs huh?

As the painted surface recedes and the line leaps from a surface 10m away to a plane 50m away the visual connection is seamless, the line retains precisely the same thickness so far as the viewer is concerned.

Of course the trompe l’oeil effect works well at just one precise point at a bridge crossing a lock system letting yachts in and out of Cardiff Bay, the now dammed mouth where the Rivers Taff and Ely flow out to meet the Bristol Channel. Moving around shows the amazing effects created by the painted lines.

No paint is wasted, the effects of shadows cast by intervening structures are themselves intriguing abstracts, check the real and the Varini shadows thrown by this bench.

Many will be familiar with the fact that the Bristol Channel has the second biggest tidal rise and fall in the World. The depth of the lock system necessary to accommodate this huge range can be seen in this shot of the furthest extremity of the Varini circles.

Obviously, smart=arses and Barnacle Bills reading this far (ha ha!) will point out that the last paragraph tells the average reader who isn’t a member of Cardiff Bay Yacht Club nothing without further information on how long before or after low tide the photo was taken but what do you expect, an Ocean Yachtmaster lesson as well as art??

More examples of Felice Varini’s work on his website here.

Banksy Loves Liverpool

2011-12-13T00:01:00.010Z

photos: NoLionsInEngland except where noted

It has been a while since Graffoto’s last penetrating insight into walls damaged by Banksy. Those Banksy posts were easily mistaken as springing from passion for street art when in fact the intention was to publicize Shellshock's brilliant gift sized tome "Banksy Locations and A Tour" which is currently available at the crazy smackdown price of £7.50 inc P&P (UK only) if you go to Shellshock’s online shop here and type in the sneaky hidden code "shoptilyoudrop". The main reason we haven’t written much about Banksy is there is generally little to say that isn’t bleedin’ obvious from the image but his recent stuff raises a few thoughts.

Close by Bond Street in the heart of the UK’s most extravagant perpetual consumer fest, Banksy took advantage of a very tall wall on an empty building to create this beautifully executed falling women and shopping trolley. Its height and scale give a real sense of peril and plunge to the piece.

"Shop Till You Drop"

The drop shadow Banksy has painted on the wall give the piece an attachment to the wall, shadow is a clue telling us she is meant to be falling down the wall rather than it being a picture of her falling through mid space.

Up in Liverpool we came across this vapour trail love heart. Using stencils, spray can and fire extinguisher as the medium, this wasn’t a quick stencil reach.

The plane is beautifully stencilled, the black layer over the white layer has the feel of a Banksy and to clinch it*, the identical composition has been found this week in East London. Only Banksy has operations with the scale to pull off such stunts.

*oh - and it's now up on his website

We tend to think of Banksy as a flat stencilist, painting the stencilled areas with solid fill but Looking closely at the plane Banksy has applied a fade along the fuselage nicely blending where light falls on the upper surface and gradually turns to darker shadow underneath. A similar fade and graduation was evident in Tesco sand castles in St Leonards.

Photo HowAboutNo

The curious thing about the love plane image is the application of a drop shadow on the wall, it has a radical impact on the picture. Without a shadow, this would be an image of a plane in the sky creating a love heart. However, with the drop shadow added the plane is now pulling off some kind of acrobatic stunt along the wall, it becomes a picture of a plane flying down the side of the wall painting it as it goes. With Banksy, nothing is accidental so what did he intend by flying his bi-plane down the side of the wall?

Another curious feature is a stunning similarity between the heart in the Banksy piece and the logo of a sinister Liverpudlian mind manipulation cult called City Centre, a sort of tourist board for shops and “attractions” in the centre of Liverpool.

The similarity seems too striking to be coincidental and the image is located in the heart of the zone promoted by “City Centre”. If Banksy meant the heart to allude to something specifically Liverpudlian, then what? It may be that it is actually pure chance, I mean why would he put up the identical image in East London if it was intended to have a specific Liverpool resonance? Scousers – calm down and explain here.

I like the way the plane is beginning its climb to the heavens just yards from a street sign obligingly directing the plane upwards. This interaction with its environment is a far better take away than the idea of its location in an area hyped by an organisation using the same heart motif.

One for obsessives to anorak over is the rare use of a device such as an extinguisher or bicycle pump or something for the heart in this Banksy piece. A fire extinguisher can be opened, filled with paint, re-pressurised and then used for artistic purposes as demonstrated here by Banksy. Filling a fire extinguisher with paint isn't for the faint-hearted but haven't we all at some time or another filled a bicycle pump with paint? Graffoto put its collective brain cells together and finks the last time Banksy used a fire extinguisher was probably when he painted BORING on the side of the National Theatre in London.

Photo nicked from someone who probably nicked it from someone else and so on.
If this is your copyrighted photo, thanks for reading.

Personally, I think this has been a strong year for Banksy during which he has created many new pieces in the UK and they haven’t been so blatantly related to product promotion like the Exit The Gift Shop stunts last year. Many of the pieces have been "annointed" as genuine Banksy's by their recent addition to the photo section of his website.

There never was much doubt that the Love Plane and "shop Til You Drop" were by Banksy. One around which there was much debate was the latest instalment of the Banksy v. Robbo Camden Canal saga which is now part of a photo story segment on his website.

Another supposed possible Banksy which did very little for so many hasn't been blessed by an appearance on the Banksy website, though thats probably not enough to have its attribution updated to "unknown" which goes to show how little he needs to do to be perceived as having running street pieces.

I have to acknowledge the help of Banksy experts Shellshock (have you noticed how cheap his book is at the moment?) and Art Of The State for help in aspects of this post and I apologise if they had preferred that had remained a secret.

Evol @ Smithfield Market

2011-11-18T22:18:00.014Z

All photos Howaboutno and Nolionsinengland as indicated

Graffoto are pretty sure that this is the first actual stencil piece in London by German artist Evol and it's great to see one in the flesh finally.

Howaboutno

NoLionsInEngland

Howaboutno

He actually uses both stencils and also paste ups (in this case just stencils with a spot of hand finishing for the perverts amongst you) to produce these mini "estates" and some of the details, even close up look so amazingly real and almost perfect in their own miniature perspective, pissed off Polish labourers sat atop to cap them off.

Howaboutno

NoLionsinengland

Howaboutno

These photos don't do the piece justice and we advise seeing it with your own peepers, so get there and take a look if you can.

Or, if that is impractical, check out more pics here.

Os Gemeos Found Un-Harmed

2011-11-06T23:22:00.008Z

All photos by nolionsinEngland

Greece is a battered country; battered by economic penury, politicians that can’t be trusted, lack of a properly functioning tax collection mechanism, corruption, cronyism, nepotism and that’s just for starters. If there is one thing the Greeks haven't wasted money on it’s The Buff. Every highway fence, roadside kiosk, every shop front, underpass and park wall is - like the economy - battered.

Most of my Greek graff spotting is done from taxis, it’s not often I get the chance to fit in a little bit of street culture. I spotted the decoration on the facade of this derelict apartment block when heading towards Syngrou Avenue, the driver pulled what he called “Original Greek” manoeuvre to zip back against the 3 lane flow. The piece exhorts us to “be water again” and is tagged Feo Flip. Flip is the artist behind the aquatic beast in the top photo, spot a theme?

Flip

When it comes to politics, the Athenian writer delivers his message a bit rougher and more direct. Capitalism is crap says the first embittered red drop shadowed piece below whilst a simple marker suffices to get the more direct message across.

A year ago I took an overground underground and passing through the Gazi area I spotted some low rise industrial units parallel to the track with some impressive murals, some relic of an old Jam or possibly a part of Athen’s Prosopsi facade programme, a council supported project to brighten some of the crappier walls though I suspect they pre-date that. Stealing a daylight hour a few weeks ago I headed up to Gazi. I knew i was getting close when I found these pair of portraits by old favourites JNOR NDA and SidRon.

JNOR NDA, SidRon

Then the building I had seen from the train came into view with some nice mural work still mainly intact.

INO1

Technopolis and Cityscapes above are by INO1, perusing his website I see an outdoor piece called “Tit Job”, I shall search ceaselessly until I can report back to you with a photo.

[update: looking back at my last Athens blog post here I see I took a photo from the train of this very spot and I promised myself that I would find my way back some time in the future]

Other artists below are currently unknown to me.

Wandering around the other side of the building, the main highway side revealed a stunning surprise, sandwiched between a Nunca pair of portraits and a piece by Greek artist Same84 is a spectacular and virtually intact Os Gemeos mural.

Os Gemeos, Nina, Nunca, Same84

Os Gemeos

Jaw dropping shock would not over-state my gut reaction to finding this. An inscription attributes the mural to Nina, Nunca, Os Geneos and Same and dates it to 2005. The event was evidently a legal jam and Athens crew Carpe Diem who specialise in these projects are up on the credits. In a city where the crappy tag is so omnipresent, it is simply astonishing that this piece should last in such great condition for so long – six years!!! The state of the buildings opposite give you an appreciation of the respect this mural has been given.

That 2005 mural in full:

View larger here

A bit of Hellenic graff spotting wouldn’t be complete without discovering a gorgeous mural by Zap aka Alexandros Vasmoulakis, tick the box baby.

Alexandros Vasmoulakis

Finally, last week on another more recent trip, down Syngrou Avenue virtually opposite my usual hotel I found this Same84 mural which I suspect is very recent. Nice to keep finding the fresh stuff.

Same84

Previous Athens reflections here, here and here

Adam Neate - Dimensional Paintings

2011-10-23T10:14:00.008+01:00

To 29 Oct 2011

Elms Lester Painting Rooms
1-3-5 Flitcroft St,
London, WC2H 8DH

All photos by nolionsinEngland

Deep joy, another Adam Neate collection of new art at Elms Lester and another guided tour by gallerist Paul Jones. This is, I think, the third Adam Neate talk by Paul Jones I’ve had the pleasure of lurking at. Paul Jones describes Neate’s new works in terms of linear self-informing progression, each step forward informed by the result of the last. With the aid of a few pics, here is what stuck in the memory about this latest display, so no guarantee regarding accuracy.

Neate continues with the figurative subject matter and 3D compositions. The 3D Perspex portraits retain the motion effects, the play with shadows and the cubist approach to representation through distorted surfaces and edges. The new aspect in the Perspex pieces is the introduction of mirrored perspex to throw the ambient light around the image with a greater degree of control. The stand out piece is Home Entertainment. Tremendous attention to detail surrounds the shadows cast by the standard lamp in the room. The picture incorporates photographs of both the artist and his wife, seemingly a one off multi-media effect the narrative appears to be that they have just taken a bath and the artist is viewing an image of his wife on the TV screen. I hope I understood that correctly!

Home Entertainment

What also can’t be seen in the photo is that the curtains to the right are actually 3D louvers and Neate has used fibre optics to create pin points of light outside the window representing stars

Home Entertainment

Neate retains his light, whimsical touch celebrating innocent love, classical beauty, shining lights and celestial choirs. Only kidding. This next piece is called No Way Out,, a man seeks solace in the bottle as relief from problems with his marriage and job. Exit is an organisation for promoting the early killing of old people or something. The composition is hugely 3D with every twist and trim of the Perspex sheets and tubes significant in defining a limb, a gesture or piece of fabric

No Way Out

Neate has now set himself the challenge of proving himself a true painter by translating his kinetic layered portraits back to canvas. In this study, Neate has built up the layers to achieve a considerable relief effect from the surface of the canvas.

One of the more interesting developments is portrayed by gallerist Paul as being accidental or intuitive, you decide. Having painted a figure of a man naked from the nips up and reflected at length upon what he saw on the canvas, Neate one day just picked up a Stanley knife and slashed at the canvas. The gaping slashes revealed a further layer or dimension within the canvas for him to play with. The slashes suggest perhaps ribs inside or maybe the self-harming consequence of listening too much to The Horrors.

From the discovery of using the effect of opening up the surface of the canvas, Neate now exploits the plane of the canvas, explores into the depth of the canvas and with the addition of collaged objects reaches out of the surface of the canvas into the room space. This has now come to be termed the “dimensional painting”, playing with layers. In the drive through composition, although it may not seem so from the photo, Neate has created layers on the surface of the canvas with cut penetrations and additional inserts. The driver is collecting the fizzies from a hatch cut into the canvas, and those drinks are 3 dimensional, his wife has lowered a drinks tray which also is an additional layer sitting proud of the canvas plane, the folds in the boy’s teeshirt in the back is a 2D replica of the way Neate represents clothing folds in 3D using winding perpsex tubing. The driver married the bearded lady, no, sorry, that’s the shadow.

Although not described by Paul Jones this way, it seems Neate follows a sort of three steps forward one step back iterative process in which after some experimentation with new stuff he goes back to an earlier technique to see if what he has learned affects the content or result from earlier ways of working. So in this show alongside the dimensional perspex painting we see a recent old style cardboard portrait.

Perhaps the most radically different “painting” in this show is a stretched primed canvas which Neate has attacked with the Stanley knife and through the slashes, twists and folds has assembled a recognisably Neate-esque figure, the stretched canvas has been transformed into a sculpture contained cleverly within the original stretcher. Brilliant and stunning. For this piece, the position of the lighting is critical to create the fall of shadows within the piece that define nose, eyes, mouth in a way Neate has made his signature. The staging of this item as the sole focal point in a plain white corridor was beautiful.

Neate defines himself as a painter though and to be honest the patter got slightly knotted when the question 'why is this one painting and not sculpture was thrown from the floor.

lady NoLions thought there was something KKK sinister in this one.

The link across the various mediums used in this collection is the idea of layering, The phrase “Dimensional Painting” feels like it is almost an effort to define a new “new school”, lets hope that a less clumsy description evolves. Jones is charmingly evangelical on the subject of Neate’s work, he clearly regards Neate as the most complete and most significant painter of his generation, drawing analogies with great modern painters including Lucien Freud, Warhol, Cubists and impressionists. I’m easily persuaded based on the work in this show and the clear growth through the series of Elms Lester shows over the past four years.

k-Guy & Occupy vs Greedy Bankers

2011-10-22T10:35:00.016+01:00

All photos: NoLionsInEngland

A decent target and a good idea is all the motivation K-Guy requires for another politicised barb delivered through the medium of stencilled street art. Bankers and politicians are frequently a target for K-Guy and as usual, he delivers a simple message with exquisite timing and placement.

Spraypaint,Carpet (quality: Eastern European municipal office standard issue)

K-Guy is coming from the same ideological origin as the protesters. They see a need, they seek a voice, they cut out the official channels of protest by putting direction action into effect. K-Guy rolls out the carpet.

Throughout banking's casino years the watchdogs failed to bark, the cracks appeared with the run on Northern Rock in 2007 and shortly after the collapse of Lehman Brothers in Sep 08 K-Guy nailed the genesis of the ongoing crisis in capitalism with his October 2008 Memorial To The Boom Economy alongside the Bank Of England.

Occupy has generated a substantial body of protest art around the camp and it was curious to feel a resonance with K-Guy’s earlier Memorial.

The pot pourri of organisations, faiths, individuals and objectives that make up Occupy pride themselves on being a true democracy. They aren’t too shabby at media management either. There is a packed itinerary of events taking place today (sat 22 Oct), check out the details on the website OccupyLSX. (www.occupylsx.org)

(got to be handy having the country's largest camping gear retail onsite!)

Having accompanied K-Guy to take some photographs of what he expected to be a very short-lived installation, I asked him if he was going to hang around to see what became of his carpet art, he shrugged and replied “my work here is done, I‘ve delivered my idea and now it has too look after itself". Some 30 minutes later the carpet was still there. It's well worth checking out K-Guy's track record with the political street art here, particularly relevant in the context of OccupyLSX is his exhortation that you might as well hoard your cash under the mattress, and photos of his Memorial To The Boom Economy can be found here.

More photos from OccupyLSX:

What Happened Next?

The protest remains in place. The news is entirely about the right to protest and the friction within the church over its response to the prescence of the camp, which has caused one canon to resign. Virtually nothing is said about the aims of the protest. K-Guy's rug remains in place, nopw the attractive unique foyer carpet to a small tent.

The limelight has definitely been stolen by a monopoly based piece of work which arrived on site over the weekend. Some claim it is the work of Banksy, if it is Banksy then it’s a huge disappointment. It has none of his usual colour palette, none of his "style" and it just isn't that funny. With political jibes Banksy always hits the target with an anarchist's guided precision, this is just lame. Occupy is about democratic change, wealth re-distribution, smash capitalism etc, this monopoly piece is, at best, about greedy bankers with their hands out (as if to some kind of..ooooo....Stability Fund...). Why does it look so much like a straight theft from Zeus with an Alec monopoly character slapped on it?

Something Interesting About Banksy, Really!

2011-10-06T23:37:00.017+01:00

all photos: NoLionsInEngland except where noted

Central London today saw a truck decorated by Banksy coming out of obscurity and into the full glare of the popular art commodity market.

Banksy comes in for a fair amount of criticism for being a stencil artist and therefore not doing hardcore freehand schizz or just lacking can control. The critic’s purpose normally isn’t to make Banksy small but to merely make the opinion holder look big. Banksy has never claimed to be a spray can virtuoso and this truck doesn’t provide compelling evidence of excessive modesty, it simply is a fairly average piece of spraycan art.

On one side a host of winged monkeys watch over a Mohican coiffed glowing red hammer wielding class warrior smashing the system, represented by a tv broadcasting an image of a gas mask.

On the other side is what appears to be a depiction of police fleeing from a bull armed with flame spitting artillery on its back, echoing the old Heavy Weaponry staple from the Banksy oeuvre.

One of the monkeys even has a set of cross-hairs on its face, so this is a composite of many Banksy signature elements, which is nice. I presume the goons guarding each corner were to add some frission of danger or excitement to the display, who knows, maybe Team Robbo would turn up.

So far so dull. Nothing particularly special about this piece it seems but I’d like to draw your attention to one aspect for which I think this does stand out. Come and join Graffoto in the world of the Banksy obsessive.

How can you tell your genuine Banksy from a fake made using a stencil purchased for a couple of quid off the internet. One way, you can buy a piece of art from his official outlets, they come signed or with a certificate from Pest Control and possibly a certification that the certificate is certifiably a certificate and so on, Another way, you photograph a piece on the street and wait to see if that piece is anointed by inclusion on the photo gallery on Banksy’s website. I think it’s true that if you have the necessary geekish knowledge, you can prove that the Banksy website is registered to people who are now or used to be proud mates of the legend rather than a fake website.

photo NoLionsInEngland, also seen at Banksy.co.uk!

Finally, back the day, this charlatan Banksy used to actually stencil tag his street art can you believe. By his own account he started stencilling because it freed him from the slowness of his painting and he evidently stopped tagging his work when things got a bit hot regarding the dubious legality of his work from a police perspective. Thanks to the natural life cycle of graffiti, his stencil tags are now a pretty rare find, particularly in such pristine condition and as large as the pair on this truck. (ok, since you obviously will start racking your brains, try the Manchester poodle and also Old Street Happy Chopper but you got to go some to some lengths to see that one).

Turbozone Banksy tag, driver side rear

Among last ones I found were this one up on a derelict site up in Islington, it used to authenticate a chucked TV identical to the one behind the Foundry and currently hidden under the “Rat Trap”. This site has now been built on and the tag was obliterated by the party wall.

Note the rare exclamation mark!!

Most recently but again this was a few years ago, I came across these rare indoor Banksy tags, knocked up in the private area behind a bar when he was doing a legal wall on a back street in London’s West End.

How long ago did Banksy last tag one of his street pieces? There is only one oracle to consult with a question like that and that’s Shellshock, co blog jockey and author of the various definitive-as-possible-without-actually-being-authorised quides to outdoor Banksies. Shellshock believes the last piece to be tagged is the 2006 Naked Lover in Bristol, I didn’t even realise it had a tag.

Other gems from Shellshock are that this is far from being the only Banksy lorry. I Banksy Locations and a Tour he mentions a truck painted similar to the Abi tribute piece on Sevier St, Bristol (book ref BR17) and also from the late 90s (I believe) here is the well known “Fragile Silence” Glastonbury trailer, though in his book Shellshock identifies Brizzle homies Lokey and Inkie collaborators with Banksy on that one.

Fragile Silence, still photo copyright BBC

It is interesting to compare and contrast the Banksy tags on the two lorries, look at previously observed change in the letter a.

Fragile Silence c. 1998, trailer tag, still photo copyright BBC

Turbozone Truck c .2003, passenger side front

So there it is, Banksy doesn't tag his public art any more, the old tags disappear as is the wont of this ephemeral daubing and suddenly, up pop two huge, sharp banksy tags. Try to get to see them via the Drewatts Auction (Cumberland Hotel, Monday 10 OCt 2011) and cherish their scarcity value. Another reason to catch this truck, Shellshock believes that of the various Banksy lorries this one is probably the least known and least photographed, until today I suppose.

I am as always hugely indebted to my great friend Shellshock who dissected my half formed thoughts and provided a ton of the facts which were an invaluable help in writing this article. Shellshock was the architect and guide of the original 2006 Banksy Tours in London and based on those he went on to publish the hugely popular Banksy Locations and Tours, now in its 4th edition in the UK. Then followed in 2010 the Banksy Locations (And A Tour) Vol 2 which covered Banksy street art in more graffiti locations from the UK. US readers may be interested to know that PM Press has just published Vols 1 and 2 of the Banksy Locations books in quite substantially amended and updated form.

PS – When I speak of Shellshock being the “go-to” guy for information on Banksy’s street art, I say that cos we discuss it so often and his knowledge is invaluable. I should say I often also discuss Banksy stuff with Art Of The State and Howaboutno who know their shit and just as equally are orifices on the matter.

Saki And Bitches - Tokyo Lady Chatterely

2011-10-06T00:03:00.009+01:00

London,
30 Sept–7th Oct, 2011

all photos: NoLionsInEngland

One of the joys of wandering the tarmac’t gallery of London’s outdoor artists is finding a new talent, an artist with an un-familiar signature getting up in a novel and unique style. One evening over a year ago, skirting around old street roundabout I spied a paste up and straight away was intrigued. An array of naked burlesque girls contorted themselves into the shapes of letters and spelled out a somewhat hard to decipher message.

The first word was clearly SAKI, the last appeared to be BITCHES. This blatantly eroticised alphabet appeared to announce a rather extreme identity. Saki and bitches, and little doubt that the bitches in question were disporting themselves for the sexual gratification of Saki. The lewd tone made me think it wouldn’t last a day but it persisted for possibly a month or so.

Over the next three to six months, more pieces appeared including one high up on the infamous “fuck the fucking fuckers” anti Judge Clark spot, I mention this given the un-confirmed rumours as to which hardcore graff writer was likely to have been responsible for that beauty.

October 2010

The body of work grew but the mystery over who or what Saki and Bitches was about didn’t resolve itself. The very first piece suggested a graffiti writer’s letterform creative sensibility, the location of the second paste up suggested a writers ability to climb and desire to get high.

Over the coming months, more paste ups appeared, then about 4 months ago, the first teasing messages started to appear…”first show coming soon” they proclaimed. I began to suspect this was a hoax, a double bluff, some kind of knowing wind up of us over-earnest street art crazy fan boys. I even began to loathe the artists exploitation of the medium to deliver their self advertising, this one spotted nailed up over a dub on Ladbroke Grove on Carnival weekend was just a bit too much zeitgeist jacking.

Carnival weekend, 2011

A waning affection for these naughty lined images was revived by the beauty of these transluscent pieces placed on phone boxes and bus shelters, double and triple street art points when you show just a teeny bit more imagination in execution and a location less mundane than the average hall of fame paste up spot.

August 2011

When I spotted this over-size buxom cut out figure high up on the old Shoreditch railway sidings then I knew it was time to devote myself at least to a bit of research. Sure enough google located a single entry blog by Saki proclaiming the date and location of a show (- - though how under the radar Saki was at this point is indicated by the fact that the first three google hits were for photos and shit posted by…..yours truly, it seemed like no one else cared!

September 2011

Saki is actually a demure, petite and smiling young ex tokyo-ite living in London for the past 7 years or so. She admits to a fondness for old school Japanese soft-core, tattoo artist iconography and she enjoys painting female curves.

The bulk of the works on show are executed on glass doors from old British Museum display cases, they look about the size of those waist high wooden cabinets with the sloping glass tops dedicated to interminable and obsessively documented moths or middle ages corn dollies. The pieces all have a super saturated intense colouration which Saki explains is due to the material itself, apparently the paint in contact with the glass never dries and when viewed through the glass never loses that flat cartoonish colouration.

Saki admits to deliberately toying with men’s emotions particularly in the selection of her nom d’artiste. which provocatively combines a strong Japanese drink with a masculine misogynist view of woman-as-slut-object.

The soft eroticism is given a sharp twist with the subtext of S&M in most of the images, I suspect that with some considerable research I might report a lot more knowledgeably on these fetish elements but - well, right now I don’t have the time to be as comprehensive in my due diligence as the subject matter warrants.

I won’t lie and pretend this is the most brilliant art ever to come out of the Orient but I do love her execution and I’m a sucker for the innocent-pornographic overtones. My response to her art may be significantly coloured by an admiration for what Saki has put out on the street, which although it recently fell into the trap of abusing the public walls for apparently commercial promotion still continues to impress with its originality. Only one other female writer out there in London reaches illegal spots like Saki. An entirely average piece of street art – the horse by Stewy's Stencils was converted into one of my favourite by Saki’s brilliant Lady Godiva enhancement (below). I hope that nothing will have been lost in her future street work now that the veneer of intrigue has been stripped– Banksy beware!
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Stewy's Stencils v. Saki and Bitches

more photos here

Ludo - Metamorphosis

2011-09-11T00:49:00.012+01:00

High Roller Society
Unit 10 Palmers Road,
London E2 0SY (Click for map)

10 September - 7 October 2011

all photos: NoLionsInEngland

If you have any squeamish fears of triffid like invasions, then your sleep will already have been disturbed by Ludo’s enormous paste up Nature’s Revenge project, seen on his several previous visits to London.

London, 2009

London, 2010

London, 2010

Distinctive characteristics of his street project are the enormous scale, avoidance of hall of fame spots, green pigmentation and fusing of organic plants with man made technology. Ludo rises to the challenge of translating this aesthetic into the gallery by creating a mad-boffin’s bio-genetic engineering laboratory bunker; a refuge from a world where nature has armed itself for the fight against man, a grotty lair where scientists deploy crap German accents and bow ties in their continuing destructive research.

Ludo’s cross pollinated plant machine hybrids have leapt off the sheet and into 3D sculptural form. Nutty lab technicians roam the gallery in lab coats, hair nets and sinister latex gloves and embryonic plant mutants emerge from the the test tube glassware and incubation units lying around the insane laboratory.

Tazeropede

Massive schlock horror B movie screen grabs pasted around the walls create a nightmare collage of a world falling to the horticultural armed response to man’s inhumanity to the environment. Scattered around the hide-out are specimens mounted Jurassic park style in perspex moulds as well as mock (or are they????) scientific journals from the 50s and 60s documenting reports of latest developments modifying DNA structures to maximise the yield of organic matter.

Apart from the fascinating and well staged laboratory, evidently un-funded judging by its Heath Robinson-esque arrangements and clichéd demented scientists, Ludo’s art consists mainly of pencil and oil paint compositions on white paper as well as a new print (have there been any before?) and an film of the artist working on the street.

Beestie Boys

As Ludo has made the insanity of man’s destructive tendencies towards the environment the key thread in the fabric of his work, it seems strange that the fearless eco-enviro warrior should aim one of his satirical compositions at a fictional rather than real oil company. On second thoughts, perhaps he is astutely avoiding what has been a tedious rite-of-passage for huge numbers of street artists squabbling over who best bastardizes the Shell and BP trademarks via the medium of a screenprinted edition of 250.

Ewing Fly

So, green remains the game, great to see the mutants in 3D and kids of all ages will enjoy the grungy science lab. The most obvious metamorphosis taking place at High Roller’s Society is Ludo’s morphing into a serious installation creating, gallery-comfortable artist.

e-Lepidoptera,
Hand pulled screen print, green and white hand finished acrylic, ed 25

London, 2011

other photos here

Graffiti 365 - Jay "J.Son" Edlin (et al)

2011-08-31T00:07:00.005+01:00

all photos: NoLionsInEngland

A sub woofer resonating rumble and Richter scale registering tremor signalled newly published book Graffiti 365 crashing through the letter box today. 365 graffiti artists, 2 inches of pulp and about the same weight as a newborn baby, you could use this book to barricade your door.

On the surface it’s a simple idea beautifully executed. 365 double pages each having a large photo on one side, waffle on the other. That’s 730 pages of awesome photos and writing, heads will enjoy it and new initiates will learn much.

(PS -excuse these photos, I had to use Lady NoLion's camera and the bloody kids think it's ok to put it way with a totally discharged battery, these 3 pics were all I got)

The content is part historic record, part contemporary survey, part graffiti and part street art. The graff history aspect skews the national representation to a North American bias but in terms of current writers and street artists, the survey represents quite even-handedly Australia, Europe, UK (no, I don’t need you to point out where we are on a map) and Latin America as well as the US.

Most of the pages feature writers and their crews or artists but just as interestingly we get J.Son & Co.s’ insights from the graff culture coal face. The book mixes ol school subway kings and their crews with new era street artists with brief tutorials on technique, vocabularly and ancient legends of benches, yards, galleries and landmark events that milestoned the birth and adolescence of the graffiti movement in New York. Among loads of things I never knew, I never heard before about writers going into the yards where decommissioned trains were stored prior to being dumped in the ocean (really? C’mon NY...all that shit can be recycled) and doing nostalgic “scraps”. Sounds like substituting Tesco’s own brand for Coca cola - a slightly pussy copy of the real thing.

NOGA (Nation Of Graffiti artists), NY 1978, photo Michael Lawrence

Martha and Henry contribute extensively of course but the photos that excited most were those of Jack Stewart, capturing 1970’s chaotic explosions of tags and pieces in colours and styles that to today’s eyes look rough, ready and wild.

[photo sometime soon - see above]

Zephyr writes the opening blurb and reports that the book’s author J.Son has experienced a lobotomy-like conversion in the process, he now sees some point in some street art. And that to a large extent captures why this book is worth reinforcing your shelves for. A battle hardened writer, a there-at-the-genesis graff head steeped in tunnel mystique and whole car yard missions has filtered the graff he loves and the street art he respects. He draws the genetic link between the two and if it qualifies to be in this book then it has been passed fit for consumption by a real graff head.

Piece by Rasta, Character by Revolt, photo by Pjay One

The book condenses colour, atmosphere, history and style into a very easy read with an un-hectoring style. It smoothes over the fault line between street art and graffiti in a way that will introduce many a polarised graff or street art bigot to the merits of the other form. A superb achievement.

Warning, if you like reading in bed and gently falling asleep with a light novelette gently resting on your nose, you are going to wake up with a black eye with this book and….. PROPER BLOODY FONT SIZES PLEASE I can hardly read fucking VNA these days and needed a telescope for photograph labels in this book. There is real knowledge to be gained from knowing when a particular painting was created and where. I will even confess that knowing who took a photo can often reveal something about the era, the location and the circumstances under which the graff was likely to have been created.

By the way – I don’t feel any obligation to mention that I am honoured to have had a few snaps included in the book, because I have no interest at all in its success or otherwise, merely a belief that if you need help selecting a graff book from the landfill graff photo albums available today, then hopefully this little write up could help you (see also – Crack and Shine and Subway Art).

God Help Us - It's Ronzo

2011-08-15T19:58:00.006+01:00

all photos: NoLionsInEngland

Slightly disappointed with the location of this one. My first reaction was this should be located somewhere that spoke more of the nearby Square Mile of profit hungry soul destroyers. Instead, it’s pretty much at the entrance to the yard housing his studio, a fact he can hardly hide given the number of times he has been seen outdoors applying finishing touches to super-sized Ronzo bugs and monsters.

Then I realised that this spot is also a portal to the dingy alley which leads past the new location of Crunchie the credit crunch monster, recently displaced from its elevated position overlooking the den of indulgent economic greed in the City. Perhaps my dis-satisfaction with the location of this new little sculpture is merely a manifestation of my disappointment with the neutered irrelevance of crunchie’s new nest. It now munches its coins while overlooking the organic craft stalls and pop-up cantinas selling any foreign cuisine you like so long as it comes with rice or in pitta.

And why is he now pink? Is Ronzo savagely fingering the gay economy?

The latin motto cast into the new Ronzo coat of arms is open to a number of translations. Domine adiuva nos speaks of a master, god or leader, whose protection, aid or favours we seek. In other words......”Lord help us! City of Ronzo”

Let's look on the bright side, it’s still a new street Ronzo which is usually a good thing and if you doubt us, check out his 2009 Crunchie campaign which was truly top notch.

P.S - Crunchie The Great in his original location:

Time Bomb

2011-08-12T20:35:00.006+01:00

History. What is it? I wasn’t there!

Moving to London in the early 80s I contrived to miss graff’s heyday because (a) I cycled everywhere and (b) I couldn’t stand hip hop. Some things never change. Today on my ride home, a chance encounter with a door ajar allowed a glimpse into a hidden time capsule of ancient tags from some home grown legends.

Let's play a game popular on flickr called Guess Where London. Show you know your history, tell us the name of the location where these photos were taken. No prizes.

Sadly, clip clop cycling shoes and an unlocked bike outside meant I couldn't explore further. Booo. Still, we love clandestine photo missions and when they are also impromptu - even better. I think I have seen this particular stairwell on a youtube clip somewhere, or is it in a book, I couldn’t find it – anyone know?

Curly – Sticking It Up ‘em

2011-08-10T18:53:00.008+01:00

London has witnessed a surge in statement based illegal art in the past year or so, not just letters or mere words but often whole sentences and even punctuation. Elbow Toe scribbled haikus; Mobstr stencilled witty check lists; Ron English pasted up dis-embodied private secrets in speech bubbles and thought balloons. There has even been a very polite voice on lurid mini stickers urging us to “Please be nice to each other” and “Please say please thank you”. You may be thinking “basic information - graff worships the font, dude” but what we are talking here is a bombing mode that unlike graff eschews repetition, each intervention an original.

Chief protagonist of this prosaic prose vandalism is, let’s not quibble about definitions, sticker artist Curly. In a movement that lionises those most “up”, sticker artist Curly has captured a safari park’s worth of attention in the past year with more than a 1,000 wordy pronouncements stuck on street furniture all over the World. His stickers have the air of insider jokes, very market aware, very art joke infused, very tuned in to sensitive matters impacting a street artists’ credibility yet at times his thoughts betray an air of self-effacing vulnerability.

Getting wind of a planned Summer visit to the UK, Graffoto managed to secure an interview which the sticker prince elected to conduct via his preferred media, the United States Postal Service label. Curly led Graffoto a merry jaunt around London and into one or two tensely balanced and rather risky situations, we hope you find the results worthwhile.

We start with the most important issue – have you ever been busted?

Only by the NYPD

Another answer that nearly got your photographer in the pooh after the artist legged it: Is it ok to do stickers if you can't skate?

Skateboards are for suburban pre-teens

The answer to “Will stickers ever become appreciated as graffiti?” had me wondering if this Curly character was out to get me lynched:

Why would anyone want that? Graff is for pussies. Art-fags have balls

Pressing on with the interview, do you know Banksy?

You mean in the biblical sense? Yes of course. But I make him wear a mask, so I have never seen his face

Should stickers be political?

If that sells

Do you think it is important for stickers to have a message?

Conceptualism is a vastly over-rated concept

Are all your stickers installed illegally?

Technically this is illegal but nobody cares

Will stickers ever become appreciated as art?

Only by those boring enough to care

Should street stickers be protected by perspex?

Perspex is a perfect surface to get up on

Do you think a sticker artist will ever have a solo gallery show?

If you can’t get a solo gallery show, you’re not really an artist

Could any of the candidates in the US presidential nominations benefit from a sticker campaign?

I would love some free pizza from Herman Cain

When did you get into stickering

Last Week

What makes a good location for a sticker?

Wherever a good photo can be taken

The best graff writers get to paint naked girls, would you consider stickering girls?

Only on really big ones

Any technical tips for aspiring sticker artists?

Take amazing photos and post them to flickr

Is There Room For Humour On Stickers?

Only This One (Respekt IZM - no proper graff was really harmed in the making of this interview)

Is there a hop-hop/graffiti style link between stickers and music?

I listen exclusively to Leonard Cohen

Fine point or chisel tip?

What ever is handy

where did you get your name from?

The logo came first then I needed a name. It was between “Curly” and “really poorly done cursive f”. The logo came about because even a talentless toy could write it.

(yeah – Graffoto had to google cursive too, means “joined up” ). Any views on the absence of stickers from Museums?

What absence? I’m in Art In The Streets in LA

Will museums not truly represent the commoners art until they have a Curly in their collection?

Museums will not truly represent the elite until they have a Curly in their collection

Are you a disciple of Jenny Holzer's Truism-ism?

I’m a post-truist but I’ll always tell the truth

How can we convince Graffoto’s reader that you are the original Curly and not just some kind of wannabe copiest?

My style is unique and impossible to imitate

We conclude this interview with a quaint relic of innocence illustrating Curly’s failure to grasp the dog-fuck-dog nature of the street art “market”, at his request we include this sticker grovelling to someone he’s never met:

He’s not a sticker guy, but this interview concept has been blatantly stolen from Lush, so he probably deserves a shout out

Hunting for suitable spots for “Curlies” resulted in the discovery of ancient and weathered Curlies south of the river and way out West which Curly himself had forgotten. Cap doffed at that level of getting up. Cynics and moaners constantly gripe about street artists prostituting themselves putting up lame commercial shit in the usual art bordello locations. In the process of giving this novel interview, Curly vandalised property on Fed stations, post boxes, tube panels (window down!), HOFs, museums and art galleries. What was most impressive was that Curly went all-city EXCEPT Shoreditch – avoiding the most boringly obvious location for a publicity seeking street art whore to get up, way to go!

Curly In Action, possibly.

Gocco Printing - Malarky at High Roller Society

2011-07-03T12:15:00.009+01:00

all photos: NoLionsInEngland

Last Summer High Roller Society did a fascinating and informative trio of workshop demos on print making. Graffoto loved them and scribbled a few words about them here and here.

Current show at the gallery is “Summer Breeze” featuring the flat fantasmagorical pop creatures of Malarky and Billy and Malarky gave a demo of Gocco print making, used to produce editioned prints such as this one from the showhttp://www.blogger.com/img/blank.gifhttp://www.blogger.com/img/blank.gif

What is a Gocco print? A print made by Gocco printer I suppose, which is one of these kitsch looking gismos from Japan which uses a clam-shell device to force inks through a silk screen. Style-wise everything about a Gocco printer screams retro toy but don’t be fooled, this is both a screen burner and print maker which can produce multi layer prints limited only by your patience. Apparently the Japanese intended it to be used for producing high quality party invitations and wedding invites.

The intrepid demonstrator Malarky took a group of a dozen or so somewhat bashful watchers through the various stages including burning the screen, inking up the screen, fudging the alignment of the paper and then pressing the Gocco to create the print.

Printing off first layer

This light box sits on top of the Gocco and burns the screen from a photocopy of the artwork, the bulbs have a one shot life and they aren’t cheap!

Light source

Burning a screen

Each screen is then subdivided using sticky strips into zones for each colour, no holes in the dyke allowed or colours will bleed into each other

Inked up Gocco silk screen

An un-expected lesson was that when printers, pundits and gallerists apply expressions like “uniqueness”, “charm” and “individuality” to screen printed editions, they mean bits where the ink didn’t come out.

Layer one

The registration process for the second screen was real hit and miss skill and judgement, seems you do a test print, then trim off an edge to correct mis-alignment, push it around abit, try again, eventually you reach a predicament a bit like someone in a barber’s chair staring wistfully at a pile of clippings on the floor and a crew cut mess on the head. If you ever wondered where artist’s proofs came from, there’s your answer.

Artist Proofs!

The gallerist’s husband (congratulations!) kept the information flowing with suitable questions and un-suitable banter. Malarky produced a two layer 3 colour print in the two hours of the workshop, we all had a go at printing a few sheets. And we all had the chance to come away with a copy of the fruits of Malarky's labours produced before our very eyes.

For an office slave caged in a totally non arty/media environment, these insight into the craftsman’s side of the creative arts are supremely fascinating. High Roller Society deserves huge applause for taking the trouble to host events like this and Malarky is a star for allowing us to watch the artist at work, those working inside the arts world may not appreciate how intriguing and fascinating that is for us civvies. We hope there will be more!

New Ron English/NoLionsInEngland Collab Revealed

2011-06-29T18:23:00.009+01:00

all photos: NoLionsInEngland

I have always been repelled by Ron English’s udder rich pop coloured studio work, few exceptions barely worth mentioning. Moving that studio art out onto the streets doesn’t change my mind – see Camo boy from 2008. Even his inclusion in CANS with what looked like paste ups seemed a bit odd.

Ron English Camo Boy, London, (this was spot jockeying, not a collab!)

The billboard campaign stabs corporate and western imperialism nicely where it hurts, in the blind eye it turns on its own hypocrisy

NABKA60 - 60 Years of Palestinian Occupation
Ron English, SHepherds Bush, London 2008

This week I have collected a large series of sightings of speech bubbles and thought bubbles containing wistful bon mots, semi lucid sound bites and snippits of a private inner monologue best not brought out into the open. A bit of flickr research confirms Vandalog to be the first to attribute these to Ron English and for artists of such stature, RJ’s attribution is a good as law, in fact if it wasn’t Ron English I suggest he knock a few of these out sharpish.

At first glance these captions were puzzling and seemingly un-satisfying. What was their point, and why was their placement so damn careless. Not one of them seemed to relate in any meaningful way to its environment. London’s walls are heaving with graffiti characters, rich singers masquerading as teen sluts on illegal flyers or marketer’s perfect families on advertising hoardings, these captions could surely have been better placed so that they looked like they were coming from those flat characters?

Perhaps you might think the walls as well as having ears also have thoughts, complexes and wise words to share.

We know this artist grafts ruminants' udders onto Disney characters but what are these ruminations about? Then the penny drops. What English has put up is a series of incomplete installations, the pieces only make sense when YOU come along to actually say or think them. That placement - he was wilfully avoiding those characters on the wall. Every single one of these pieces works brilliantly when a member of the public passes by and momentarily the captions belong to them.

(In one block I will be run down by a bus....if I walk in the gutter)

Even more intriguingly, the person who fleetingly becomes part of the installation is probably not aware of the significance of his role. The art exists only for a tantalising moment and really is best appreciated from the third party perspective.

You can only conclude that this art needs you there to complete it and in the case of the various art pieces illustrating this web page, the art existed only when I the photographer was present to observe and record its transient existence. I am honoured to be able to share with you this street work that Ron and I put together.

(clothes and gait - model's own)

I would like to thank Ron English for his vital contribution to our collaboration, I really couldn’t have done it without him. Thank you also to his assistants, drivers, ladder bearers, make-up artists and anyone else who knows him.

If you think this insight is rubbish (congratulations) I believe Ron English makes his intention quite clear with this particular caption for those of a more Liliputian stature.

This Ron English campaign is the conceptual opposite of my single all time favourite street art installation – Jimmy Cauty’s street mirror under Old Street Bridge which makes the observer disappear. Here English requires you to appear. You can’t knock the genius of a guy who can come up level but opposed to Cauty’s finest (street) hour, this is why Ron English actually is deservedly the legend he is.

Jimmy Cauty, London, 2008

That said, in a period where an artist is taking art placed in the bottom 5 inches of London walls to new heights (no – really, boom boom), Ron manages to sully that hem of public space with a small paste up of an excessively pneumatic Mini Mouse. Oh dear.

Additional photos here

Day Off Urbexing

2011-06-01T21:23:00.004+01:00

So, I had a rare free day planned a week in advance to go to a few abandoned sites around East Sussex - namely a closed technical college on the sea front. . .

And then on to a long closed private school in the countryside

Now whilst on these trips I do expect to see the odd bit of graffiti, I certainly wasn't expecting to find my first two full on Paul Insect pieces!

This stencil firstly:

And then this "life sized" Mickey Mouse:

Originally questioned by a few Flickr contacts, to which I said "nah he wouldn't come out here to paint that surely"? Then contacted and had it confirmed by the gallery.

So much for a day off. But I really wasn't complaining!

Street Artist Servants Express Gratitude For Long Weekend

2011-04-29T11:29:00.010+01:00

all photos: NoLionsInEngland

To echo The Socialist Worker’s famous “traffic delays in London” commentary on the wedding of Charles and Di, large amounts of Britain came to a standstill today as workers enjoyed an extra day off work and a 4 day weekend. Kate Middleton, slim, looker, married Prince William, privileged, inherited. Street artists, resplendent in traditional livery of flat sole sneakers, shin length skinny denims and Abercombie hoodies paid tribute to the occasion.

Perhaps the most prolific around the ancient borough of Shoreditch, haunt of their majesties’ crustier artists and other trendie subjects, was Dotmasters, in his customary supporting role as Bearer Of The Exacto Knife, delivering a prolific number of this single layer stencilled artistic tribute of the royal likeness presented in the form of police identikit photos.

Dotmasters

Mr.Farenheit, Master of the Paste, has installed at strategic locations (i.e. the usual spots) a selection of newsprint pages stencilled over with a variety of messages expressing a commoner’s love the future Queen.

Mr.Farenheit

A parallel between a Prince’s desire to be left alone (particularly when falling out of the VIP area area of a Chelsea nightclub with a dozen close freeloading rugger mates) and a reluctant sexual partner adorns several locations of the realm.

Mr.Farenheit

The street art community has paid its respect to the ancient traditions of this Sceptr'd isle, led symbolically by its great royal figureheads, successors to a long line of distinguished and brilliant cross-dressers, into a brave new era of tourist economy dependence, determined to show the world whose eyes today watch our green and peasant land with envy and awe how Britain maintains its love of honouring those born to be first to the trough.

K-Guy produced a limited edition screen print but didn’t make it out onto the streets. This sort of summarises the general level of ennui reigning among a populace upon whom the greatest impact will have been “yippee, another 4 day weekend”. All in all a pretty paltry reaction to the wedding. Apart from the obvious targets - privilege, wealth and un-earned but mainly symbolic authority, it seems Willy and Kate present little material to inspire the artist courtier. Perhaps the scintillating wit and pointed political satire is being reserved for the eventual wedding of his swastika wielding brother.

Late update, I forgot about this one,as likely to be a paid for commission as not, cheque signed "love Liz and Phil"?

After The Piss Up.....The Paste Ups

K-Guy obviously felt the sludge landslide of instant commemorative pull-out souvenir colour supplements leant an excessive gloss to an overblown celebration of the marriage of the nation's favourite negligee manikin to the single beaming 2:1 chink of intelligence flying in the face of the royal family's fine tradition of academic mediocrity, so he silk screened this mass paste up souvenir bollocks with the exortation "God Save Your Mad parade" from the Sex Pistols 1977 Jubilee year single "God Save The Queen".

K-Guy

K-Guy

Just yards away HowAboutNo, still reeling from an excess of Amsterdam refreshments, spotted a couple of figuroids bigging up William as a kind of "Mens Health" speedo poser and Kate with a splat of blood on her wedding dress designed by someone dead. Somehow we doubt that was the first time the Prince stormed her palace gates, c'mon, the Royals move with the times daddyo.

Unknown

Sweet Toof And Paul Insect, London, 2011

2011-04-25T21:22:00.008+01:00

Lots of fun recently quietly observing a furtive pair of artists working silently and swiftly on one of London’s less accessible rooftops.

Sweet Toof and Paul Insect, London Rooftop, 2011 from NoLionsInEngland on Vimeo.

It took 4 nights and about 50 litres of paint for Sweet Toof and Paul Insect to blend signature imagery in this visible-from-space collaborative masterpiece. In essence, the painting is a double headed face munching away at the rooftop hut. Best viewed from 1,000 feet, the symmetry ensures the effect is the same whether viewed from the east over the Olympic Stadium or the west.

From the photography point of view this mission had a few tricky aspects. Obviously you can’t go throwing huge illuminative arcs of light around so you work with the natural light. The first night, after about 20 minutes the low cloud base boiled away and the urban-orange sky turned black plunging the rooftop into darkness. At the end of the clip you can see the opposite happen. Exposure times varied dramatically between 10 and 30 seconds.

There are two gas boiler outlets on the upper level, the output from those condenser boilers is bloody wet. Using a patented knotted rope to get up there to set up a camera position, the wind would veer and back unpredictably giving the camera a misty drenching.

I flew BA over the Olympic Stadium the other day but couldn’t find any landmarks other than the Olympic Stadium, there should be a prize for the first photo from a scheduled airliner!

Dark Horse, Sweet Toof's first New York solo show opens at Factory Fresh on 29th of April 2011

Paul Insect has just collaborated with Sickboy on an installation at the onethirty3 space in Newcastle

Artists: Sweet Toof, Paul Insect

Photography, video: NoLionsInEngland

Music: Booze - Insanity Drive

Mike Ballard -The Ultra Nomadic Def Smith Cycle

2011-04-03T00:51:00.009+01:00

Edel Assanti Project Space
276 Vauxhall Bridge Road
London SW1V 1BB

Thursday 24th March - Saturday 30th April 2011

All photos NoLionsInEngland except HowAboutNo where stated.
Video by Mark Gostick via GalaxyRays

Hanging a few canvasses and calling it a show isn’t Mike Ballard’s style. Ballard deals in whole room illusion experiences, multi-media sonic and video assaults, challenging conceptual celebrations of “taking without consent” and the intersection where delusional un-hinged jazz weirdoes meet dazzle painting. The whole lot flows through the fizzing circuits of Ballard’s brain and discharges via electrical components melded together by the mad boffin’s own hands.

The Ultra Nomadic experience starts with a curious framed circular patterned paper, various Ballard themes can be recognised in the concentric circle patterns but the most interesting orbit is the very out edge which has two semi circles of patterns of images, each image remarkably similar to its neighbour but different by some incremental detail like one of those flicker book animations, and the significance of this is revealed as later as you dive into the subterranean space.

First stop in the basement is a garden shed, a hut – no hiding that’s what it is. Inside set in the middle of the floor is a low level kinetic lightbox. The glossy black box is punctured by a circular screen, a beam sweeps out repeating circles picking out a viscous, boiling universal. Is it detecting the beginning or the end, or a continuous repeating loop between the two? Who knows, some say it marked out an organic intra-cellular voyage path picked out by a navigation system travelling within a mutilated, knifed body. You choose, it’s in the eye of the beholder this one.

The light arc shows the sweep of the light line in the photoexposure time

The Ultra Nomadic Def Smith Cycle is a bigger, better cosmic traveller, a maker of tangibles and intangibles (Smith as in smithy, forge) and What The River Brings, a poker phrase and also the oldest piece in the show dating back to about Ballard’s All Of Everything era, represents that voyage, the transformer nomad complete with suitcase sets off propelled by energy from the larger older version of himself.

There are two other minor photographic collage pieces hidden away in an almost un-noticed recess at the rear of the basement, Ballard’s view on these springs from his obsession with music. The images pay tribute through the representation of a mystical figure transformed with visible bizarre inner energies and wizardly properties, the whole referencing the originators of hip hop DJ Kool Herc and Grand Wizard Theodore. Once again Mr Ballard is responsible for me wasting entire minutes googling musical references an indie honky knows nothing of.

All of which doesn’t so much as define a backdrop as get completely blown away by the main feature of the show. You can’t miss it, its ambience is apparent as the lo fi one note synth-meets-stuck-oscilloscope-drone permeates your head from the moment you commence your descent at the top of the stairs. The source is a new installation but one that very clearly shows its relationship to the LaPlace Transforms sculpture which Graffoto patiently explained after the 2009 Long Arm Gallery Galaxy Rays show.

In this incarnation, an edition of the circular paper Ultra Nomadic Def Cycle drawing we found at the top of the stairs rotates on a platter with two turntable pick-ups. One tone arm has a scalpel blade resting on the rotating disc, this both creates and picks up the vibrations though unlike the earlier Laplace Transforms, the blade doesn’t cut into and destroy the disk. The signal passes through a vocoder which results in the sonic eminences we hear. A second tone arm holds a small camera and a light.

Compare the Ultra Nomad Def Smith Cycle above with the LaPlace Transforms from the 2009 show:

Mike Ballard - LaPlace Transform, Bristol 2009, photo: HowAboutNo

The frame rate of the camera, the rotational speed of the disc (78RPM)and the separation of the images around the paper have been critically tuned so that each successive image captured by the camera is dead centre in the frame. The resulting live “time lapse animation” is projected onto a screen built into the housing, Ballard christens the whole thing a sonotrope merging the idea of an image generator and a self noise generator in one device.

The sculpture is topped off with various minute figures signifying a mystical origin or source. The device radiates warmth and a riich lushness, coning you into supposing that the innards must be full of valves and “Elvis at Sun Studio” microphones

So much for describing the appearance, the experience however is nothing without the sound. This whining acoustic screech won’t leave you alone, you can try ignoring it but your subconscious always picks out the tones, some crazy inate Fourier analyser within your nervous system locks onto the frequencies then shifts to pick out some higher harmonic, then a different tone. The effect is as if the instrument is somehow being “played” with a gentle, slow tensioning and relaxing of the “angry flies trapped in a balloon” knob.

Trance like rapture would be a suitable response. If the images generated by the same disc as the sound aren’t perception enhancing enough, then this is probably exactly the sound track for a fairly bad trip on psychedelic grade As. The ambience needed sylph like naked females to slowly whirl around, arms aloft in complete immersion in the mood but none of them could be persuaded. What you really want is to witness! Thankfully, Mark Gostick produced this really slick video which Graffoto has nicked without consent.

from GalaxyRays by Mark Gostick

Interestingly, the inner images, a silhouette figure saluting the sun and some geometric patterns are being illuminated at 50Hz (probably) and are rotating at 78rpm and as you can see in the vid that image moves forward very slowly, a bit like the wagon wheel stroboscopic illusion on film.

This show is about transformations and trance, repetitions and electricians. Compared to past shows it is more about immersion than illusion. If you are a tall slender hippy chick with your own stash of hallucinogenics, please get in touch for the Graffoto guided tour.

A few other photos here.

Skewville - Slow Your Roll

2011-03-26T12:12:00.019Z

High Roller Society
Unit 10 Palmers Road,
London E2 0SY (Click for map)

19 March – 24 April 2011

photos: NoLionsInEngland

New York twin brother street art legends Skewville are bombing London for their first solo show at High Roller Society gallery. Fame on the streets worldwide has been secured thanks to their sneaker mission but Skewville are never shy of exploring ways to subvert the normal paste up- stencil-gallery show limitations of street art convention.

Trainers over telegraph wires have been around basically since trainers started wearing out, there’s nothing new in dangling sneakers from telephone wires but surrounded by a vast noise of stickers, stencils and paste-ups Skewville sought what they termed “next levelism” for street art techniques and so the trademark silk screened hand cut laced wooden sneakers mission kicked off. Wherever they go they take a few wooden sneakers and leave their “tag” by throwing pairs up over lampposts and telephone wires where they can hang more or less un-touchable. By their estimate they have done over 6,000 pairs in the past 11 years, Graffoto knows of 1 in London which has been there since 2004.

London, 2011

Skewville came to London in 2004 with a mission to do break the mould in putting up repeated simple images on the streets. London was in the grip of the stencil mafia and if stencils weren’t simple enough already, why not get up using a refinement of the old primary school potato print technique. Seeking an edge and discovering easy repeatability, Droo Skewville developed the sneaker stamp, in essence cutting a fresh pattern into the sole of old sneakers. The example below was buffed only last month and others still thrive nearby.

Skewville’s next refinement was to cut the image into a roller pad and hey presto, believe the Hype!

Less long-lived were some quirky sculptural grill signage from 2008.

The current trip has resulted in some more thrown dogs but don’t mark Skewville as street art one trick ponies, this year they have pulled off at least four shutters around the East End. On the streets of New York and wherever two bad ass jive talking yoots from the home counties meet, the greeting of choice is a YO! On opposite sides of an East London high street two shutters greet each other with a YO! before each working day commences, they then disappear and at the end of the shift they re-appear to salute each other.

YO! - YO backatcha!

On to the main reason for Skewvilles’s presence in London, the show at High Roller Society. It takes two to have a conversation and a duality is a recurring theme in this show. There are two parts to the show, one side of the room is older Skewville, the other is new stuff. Skewville has neatly bisected the room with the show’s Slow Your Roll mantra to mark this out as a show of two halves. The over-size stamp used to create the slogan down the middle forms part of a sculptural installation, the tyre rolling out Skewville’s message not to get too impressed with themselves.

In the more colourful half, we see some a Skewville staple, a collection of silkscreened collaged slogans and pop imagery which might have come from the classifieds in a Brooklyn butcher’s trade magazine.

Honey I shrunk The Kids/Brooklyn Flavor/Open Daily

An about turn to the opposite side of the room yields examples of the more recent Skewville direction. Stained, painted and etched images on wood is used to create these intriguing figurative paintings which hint at more meaningful significance.

One theme common to most of the work looks like an expression of regret at the inevitable compromises made on the passage to adulthood drawn from the perspective of the free spirited outsider looking on. It’s the blind stumble downwards from the pursuit of fame and fortune to having to take jobs to fund the dream to then finding life is passing by and yet another sucker has fallen into the trap. A shady spiv [N. Am: flim-flam merchant] employer in All In A Days Work lures the 9-5 work drone with a series of false hopes, fame, fortune, desire and hope ... and then the hidden truth...”Day Job Sucker”.

All In A Day's Work

You have to wonder whether the artist’s sentiments are first person regret or third person teasing. A further series of monochromatic compositions represents the working life as a fast vehicle now decrepit and propped up on bricks, graffiti painted on the vehicles’ side captures the dilemmas – 9-five, “fake a death”, “no return”, “Day Job Sucker”.

Love East Hate West/Fake A Death/Day Job Sucker

This theme of compromises continues through many of the more recent paintings and even some of the older coloured works, check out Vicious Cycle, Sucks Either Way, Side Deals, not to mention the deadly contemporary vices immortalised on various bottles and mousetraps including Envy, Desire, Lust, Desire, Fame, Fortune. Of course pursuing a gallery career doesn’t make the idealistic artist immune from those character traits either. Perhaps the paintings are signalling the start of a quest for liberation from the crushing work-eat-sleep drudge or an early warning to avoid this trap.

The figures in the paintings frequently incorporate a composite of architectural features, outdoor spaces, ambiguous signs and signals all pointing towards an individual’s bewilderment and sense of being overwhelmed by his urban surroundings. Alternatively a viewer could be excused for seeing a person who appears to dominate the environment, the fabric of the community appears to be internalised within the subject who appears to be bigger than the external world, perhaps Skewville really are the High Rollers of their universe, who knows?

Sucks Either Way (Detail)

Some of the symbols didn’t register for cultural reasons, for instance, the rectangles with a cross apparently are painted in playgrounds in NY to represent a pitcher’s target area for a game of “stick ball”, but then it’s quite likely someone from Brooklyn is going to wonder why three vertical lines and two horizontals at the top might get drawn on walls in the UK. This “intelligent pictogram” side of the show is full of interesting aspects and innuendoes derived from Skewville’s lives, home culture and influences but equally they can speak to the circumstances of most viewers, the symbolism is fine.

Between and within the various paintings are dotted lines and crosses creating divisions, links and groupings, Ad of Skewville gave us some cock and bull about them representing paths around their childhood clubhouse and X marking the spot where ye treasure may be found, the story was a good ‘un about notes they used to leave to remember where they’d hidden weapons they’d need to fend off bigger kids out to kick their arses . Another interpretation might be that Skewville could be using a draughtsman’s drawing convention to denote a section or another view through a drawing, as if begging the viewer to take a lateral view to discover the meaning within in the picture.

One thing noticeably absent from the show are sneakers, none. Whilst Skewville have put sneakers in shows in the past – their earlier shows were self promoted and curated – now their gut feel is to react against the exploitation by too many of the streets for commercial promotion by separating the street from the gallery, though Skewville will never resist a YO! or a BEEF, indoors or out.

At the top of this story we found lots of evidence of Skewville's longevity with street pieces surviving in London for the best part of more than half a decade which is no mean achievement in this place. Based on the interesting collection of work in this compact gallery space there is no sign that Skewville aren’t going to continue rolling for long time to come. The show raises fascinating questions about he possibility that the sentiments may be a personal exchange between the twin components of Skewville and you are compelled to appreciate that these concerns engage us all and the art reflects equally into our lives. Ok, it’s fun to contemplate the art in that way but at the end of the day the work has a fascinating and intelligent charm, we just like it !

For a selection of other images from Slow Your Roll and a few other Recent London streetpieces, click here.

Brian Adam Douglas - Due Date

2011-03-12T12:58:00.008Z

Black Rat Projects
Rivington Street,
London

10 Mar - 7 April 2011

photos: NoLionsInEngland

I first came across Brian Adam Douglas’ gallery work in a project room installation at The Leonard Street Gallery in 2007 and was knocked out by it. Poo-Tee-Weet from that show remains one of my favourite pieces art.

Poo-Tee-Weet, London 2007

Brian Adam Douglas has made many visits to London and under his alter moniker Elbow Toe frequently gets up on the streets with pastel drawings, short poem stanzas but most notably paste- up original art of stunning quality and beauty. I have a fond memory of Elbow Toe several years ago comparing the tension of even wheatpasting in New York to chilled out daytime high street pasting in London.

London, 2007

Brian Adam Douglas’ latest UK show at Black Rat is his first London solo show, having already been exhibited in almost this form up north at Warrington Museum late last year. There are 17 original paintings and 12 preparatory sketches. The originals fall into two distinct formats, those on paper with negative space background and those on wood panels with generally full colour background, the artistic style is virtually identical in both forms.

Previously, Brian Adam Douglas’ distinctive studio work was based upon intricate lino cut images featuring twisted figures with multiple jointed limbs and stylistic references to classical forms of figurative painting . Often the work would be confused with art from Swoon or Denmark’s Armsrock. Now we are more familiar with his “trick” of creating collages of finely cut shreds of coloured paper in such a way that from any distance greater than about 12 inches the result looks like a beautiful traditional brush painting. The device is stunningly executed but no mere gimmick.

After Goya

(titled “The Family Pet” when shown at the Warrington Museum. Curious)

The title of the show clearly defines the core theme throughout the work (with one exception), something which the artist ambiguously describes on the night as grappling with the issues of trying to become a parent. We can’t be sure whether this alludes to the mechanics of the formative processes or the lifelong struggle of nurturing a baby human from smeared greasy new-born to first wage slip, but the distinction isn’t that significant when it comes to reading each of the paintings, a label that we will stick to for convenience.

Rites Of Spring

My own allergy to negative space is blown away by the works on paper in this show. In most cases the absence of background throws focus on the form and content of the central image, whereas the full colour compositions tend to have as much intrigue, meaning and food for thought as the painting subject itself. Look at the McGee-esque background to PTW from 2007 above.

One of the beauties of the art is that each picture has picks out a doubt, concern or paranoia that every well intentioned parent feels at some point or another but doesn’t articulate anything like as well as Brian Adam Douglas paints it. In “Tradition” below, the point seems to be paradox between the new parent feels himself blindly stumbling into parenthood without a route map blind to the guiding hand of his immediate forbearers.

Tradition (detail)

Assume Crash Position is a gentle humorous allegory on the notion that whilst life starts with parenthood, at the same time there is a part of existence that ends with a crash. Give the man oxygen

Assume Crash Position

With the meaning being a matter of one’s own interpretation what one sees in an image, Sweet Dreams provides a dilemma, is this tender nurturing of a loved one, or an insidious implanting of the seed of an idea into the woman, or even literally the seed? Both messages sit happily alongside each other in my mind and doubtless you can come up with other different interpretations. It’s a beautiful painting whatever it means to you. In Sweet Dreams you can also see the artist's charcoal construction lines, it's probably no accident that where these remain a feature of the finished piece they add hints of motion.

Sweet Dreams (detail)

Looking at a couple of the full colour collage on birch panel paintings, Bears shows a couple of parents struggling with a beast, an inconvenient clumsy oversize un-cooperative helpless beast, which just about hits the nail on the head. The microphones suggest paranoia, the sense that one is under scrutiny and making ones mistakes in full public gaze. Avoid that by not slapping your kids in the supermarket aisle;-) One thing I found un-necessary in this picture was the spilled paint, it may be another significant detail whose meaning I miss but I’m afraid I just see an art cliché specially beloved by the urban fraternity. Brian gives us another interesting conundrum by pluralising the title.

Bears

In a show of constant delights, the stand-out canvas is “The Memory of You is Never Lost On Me”. Measuring an enormous 2.1m by 1.4m. The central character, recently bereaved (I was told) is engaged in a kind of memorabilia purging and we see across the painting the echoes of various key moments in his life. Immediately to his right, a woman I take to be his wife embroiders a beautiful tablecloth on which sit boxes, possibly piles of note and further right again in diminishing scale denoting reducing significance to the narrative, we see a child playing with a piñata, nursery toys and curiously positioned, almost slightly surreal old fashioned toys like the stick and hoop. The beekeeper is a motif which comes up several times in the work, in this case the young lover is becoming married and his new wife enacts a Greek wedding ritual by dipping her hand into a pot of honey symbolising sweetness and fertility. The bees swarm up and through the smoke from the burning of the man’s reconciled memories, where of course they would become drowsy. Would it be too obvious to suppose that it all starts with the birds and the bees?

The picture explores a theme similar to the novel “Any Human Heart” by William Boyd though it was evident this is happy coincidence. The last time I felt a similar desire to just stand and absorb and ponder the many different facets of a painting was in front of Picasso’s Guernica in Madrid.

The Memory of You is Never Lost On Me

Visiting American street artists bring to the London urban art honey-pot a rare level of intelligence and intrigue and occasional new world migrant to mention in this context would be Swoon and Judith Supine. Less often mentioned is Brian Adam Douglas, a.k.a Elbow Toe though on the basis of this show that ought to change. Due Date is a truly epic show, one of those rare occasions where engaging with the art at the opening took precedence over the socialising.

Graffoto could and would love to go on and on sharing its thoughts on each and every single painting but that would spoil things, as well as being rather tedious. Instead, check out the full photo set on flickr, let Graffoto know your insights.

Postscript for anyone curious regarding Elbow Toe, Elbow Toe is alive and well and before the show opened placed a new piece of hand coloured art on the streets, or the tow-path to be more accurate. In case anyone should question the taste - these photos were taken before the natural disaster (and Fukushima man-made disaster) in Japan. Very clairvoyant.

There is an ever increasing gap in style between Elbow Toe and Brian Adam Douglas and we hear there are unlikely to be any Elbow Toe prints in future.

This Too Shall Pass

This Too Shall Pass (context)

Black/Light - Roa, Phlegm, Robots

2011-02-26T01:11:00.010Z

Bussey Building, Peckham Rye, London, SE1 54ST

25th Feb – 5th March 2011

All photos: NoLionsInEngland

Headed way down South of the river last night, really far south off the map in Peckam for this week’s Roa show alongside Phlegm and Robots. Roa is up everywhere but this was my first encounter with the wizardry of Phlegm.

Roa hardly needs introduction, his epic birds and beasts display feathers, veins, innards and bones on many London Wall. He rarely does small.

In case you missed his first London solo gig, read a graffito snapshot here

Plegm however is long established, prolific up North and around the continent but rarely if ever sighted in the capital. He has a similar monochromatic palate to Roa, he is more suited to older crumbling walls and the insides of derelict buildings, not unlike Roa and it is easily to see why artistically he works well paired alongside Roa.

The venue starts with a claustrophobic courtyard at the end of a long passage off Rye Lane. The lumpy and irregular lighting, random shape, the ancient brickwork and the looming tower of a workhouse-like building create a classic environment for these two to populate with enormous beasts, skinny people and a Phlegm trademark wobbly looking glass. The building was “when it was built, one of Peckham’s tallest buildings”, according to the web, a wildly extravagant claim to fame it struggles hard to live up to.

Strobing trains rumble past every few minutes making the painted figures leap around the walls like a flickering gothic horror story. Like a bizarre fairytale fabricated to scare the living nightmares out of the kids, this enclosed urban canvas creates the sense one might be trapped inside a walled castle with radiated zombie animals and sundry carcasses for company.

Inside the building, 10 flights of footstep echoing institutional stone stairs and through a heavy pair of dog-legged curtains brings you into a blacked out timber floored loft space commandeered by Phlegm and Robots. The door staff offer you hand held torches on the way in, health and safety obviously forbids that you should blunder around in the dark and bump your head.

Three coarse built but imaginatively fabricated wooden man-robots spread arms and link hands to tower over the cautiously stepping observers. A Phleg wall painting with an added out-of-scale 3D townscape emits eerie and un-nerving rings and ticks. The town appears to be carried of the back of a Phlegm figure who appears to be cradling a prismatic multi-faceted abstract geometric cloud in his hands. The work of both artists combines in a sinister and yet satisfyingly threatening way. The Robots have more than just a touch of the wickerman about them and the scrawny hooded Phlegm figure looks like a fugitive from a post apocalyptic mutant zone.

Neither handheld cameras nor flash photography could convey anything like the mood of this creepy dark installation, so no photos, sorry.

Trying to feel your away around this without the torch is recommended, enjoyment and wonder grows as eyes get accustomed to the dark and in the meantime, enjoy the fun of accidently bumping into other timidly tip-toeing creatures. More art experiences should provide this kind of accidental tactile encounter.

A note on practicalities, the flyer talks of 4 nights of art, bands and such and apparently you’ll get stiffed with a cover charge in the evenings. It’s not clear if the place is open for free viewing before the ents start. Perhaps email them to enquire because it’s a bloody long way to venture from civilised parts.

Space Invader Chequered Past

2011-02-18T23:15:00.008Z

all photos: NoLionsInEngland

Three or four years ago, I can’t recall precisely when, I spotted an Invader mosaic piece from a taxi as we swept through one of the higher back streets of Monaco. I didn’t have a camera on me and there was little sense in going back. On subsequent trips I brought a camera but the chequered Space Invader was no longer to be found at the spot where I thought I had seen it.

Earlier this week, I climbed up a steep and winding set of alleyway steps from the corner at Saint Devote and emerged into a back street to find the same Invader still there.

I was gobsmacked. It turned out that I had been looking for it ever since on a parallel street next block up the hill, a street with the same characteristics of a dropping sweeping downhill left handed corner, but I always went along the upper road, not this slightly lower one.

Monaco is a very sterile tightly controlled kind of community, not the sort of place I take much joy in visiting but there happens to be work there. I assumed that the zero tolerance of anything un-authorised by the prince suffered the obvious natural fate of illegal street art in this principality. So to find this cheeky little invader still intact now feels just incredible. A quick search on flickr located a photo of this piece dated June 2007 so it certainly has lasted longer than most of its London compadres.

The other reason like this is the very deliberate association it has with a chequered flag, who hasn’t heard of the famous grand prix, just about the only Formula One race a non petrol head like myself might bother watching. In the background of this picture, the left right avenue of trees is actually Boulevard Albert 1er which is the straightish start/finish straight for the grand prix, the pit line is just this side of the trees.

So, for its contextual referencing of Monaco’s most famous asset and the fact that it has somehow survived this long, I love this little (encore) find.

ps - photos by phone

Hastings & St Leonards Moth Project

2010-12-12T19:01:00.004Z

Eagle eyed residents of Hastings and St Leonards may have noticed the sudden crop of giant geometrically patterned moths appearing on walls around parts of both town centres recently.

The reverse graffiti being the work of a UK artist called Moose, one of the people to have pioneered the movement of "Clean Art" where stencils are placed and then a cleaning solution is applied to leave the fairly permanent, but still temporary form of art.

Moose a.k.a Paul Curtis, was one of the team of people behind the Leeds based Soundclash and he also promoted the Soundclash club nights at which Andy Weatherall was an early fixture and Tricky made a rare and reputedly dreadful early DJ appearance.

Moose says of his vision and how he began making clean art of his own "I just saw marks on the wall where the shoulders of unsteady drunks and the fingertips of curious children had exposed the shiny White tile" And with only a pair of socks as his tool, reverse graffiti was born.

Moose has been doing this for over ten years now and has worked on many commissions often highlighting various health and awareness campaigns and St Leonards certainly needs some help there! It's high quantity of dirty walls means it has the higher proportion of Moths over it's Hastings neighbour.

There are currently 7 locations where the moths are living, hopefully those numbers will increase over time and maybe even encourage more forms of art in unloved places. Each site has a different moth design unique in its complexity, all of the designs are also based on moths native specifically to the area.

The project has 100% backing from the council and more specifically councillor Peter Chowney (In charge of regeneration in the area) who has said "It's an exciting installation which has enhanced the Hastings landscape, it's also great fun to suddenly come upon one of these images walking around town"

More details about Moose can be found at http://www.symbollix.com/

Banksy Locations (and a Tour) Vol II

2010-12-06T18:17:00.019Z

All photos: Shellshock

Remember Banksy Locations and Tours, a pocket size book produced in 2006 which detailed locations of Banksy street artwork? That was structured around around 3 tour routes of Banksy’s wall art in London that a lucky few experienced free of charge at the time, though a bit like the Sex Pistols at Manchester Free Trade the number that claim to have been on those tours now exceeds the population of the UK.

That was the work of Graffoto contributer Shellshock and we are pleased to announce he has done it again with the release this week of Banksy Locations (and a Tour) Vol II.

The significant difference between Vol I and Vol II is that Vol II addresses all the other areas in the UK where Banksy has been active EXCEPT the locations covered by Vol I. So that’s all “new” stuff then.

Vol II is a fascinating insight into some of the older and more provincial Banksy street art which London-locked folk like the rest of Graffoto don’t get to see. Though one or two of the London Banksys included in Vol II were only a couple of hundred yards off the routes of the original tours, they didn’t make Vol I simply because they involved too much of a route deviation to actually be included in Shellshock’s tours.

Stylistically it sticks faithfully to the blueprint established by Vol I, which is to say there are photographs, with locations, notes on relevant history and an update on condition – if it has any! Regard it as a kind of I-Spy guide to Banksy’s public works and the ideal sister publication to Vol I.

Vol II is published in hardback, making it harder wearing for those walking/cycling/charabanc tours.

This looks like a nice little stocking filler for any enthusiast of Banksy and street art in general.

Quoting from Shellshock’s own writing to add further colour and details on how to obtain a copy:

“It’s a whopping 380 pages of hardback book and includes his street work all the way up to this October. There was just so much more to write than Vol.1; there are more locations (over 135, of which almost half are still worth visiting), more news (especially on the more recent pieces), better photo ops, and a few flounces of creativity. There is obviously no hiding that it is very similar format to Vol.1, in that it is based on locations, my photos and info/history about the piece. BUT there is a little more leeway in Vol 2 because it is less tour based (the only tour is in Bristol, which is pretty good actually; a lot survives, including some very hidden gems), and although it rounds up a lot of locations in London that couldn’t be covered by Vol.1, a third of the locations actually come from Bristol, Brighton & the South Coast, Manchester, Liverpool, Birmingham, Glasgow, and the rural West Country.

• Over 135 detailed locations of Banksy’s street graffiti, past & present
• A full walking tour of his remaining work in Bristol
• Information, random facts & idle chit-chat on each location
• Over 220 colour photographs, on 380 pages
• Snippets of art/graffiti by Eine, Faile, Inkie, Kato, Mode 2, BA / DBZ, & Rowdy
• 12% of [the] sale price donated to charitable organisations (24% when sold directly by [Shellshock])
• ISBN = 978-0955471230 / R.R.P. = £12.50

If everything goes ok and this winter weather doesn’t wreck it, I should get it on 7th December. It will obviously take a short while to get into all the shops, so if you fancy it soon it might be best to get it via the ‘net.

It’s on Amazon here (where sample pages are also viewable for free).

If you prefer to buy direct, then I’ll be selling it through my eBay account once they arrive. I've been on eBay for over 7 years now and still have 100% positive feedback.

Any sales via myself will get a couple of postcard flyers thrown in for free."

Shellshock is usually very approachable, so as a very nice inexpensive gift you could visit his eBay listing and ask him for a signed copy of Vol 2 with a dedication, all dispatched in time for Christmas [insert your religion/non religion's alternative day here] if you order quickly enough.

Dale ‘vn’ Marshall’s Room 101 revisited

2010-12-06T00:49:00.008Z

Putting the erm… into Vermin

All photos by shellshock

“Given the state of the planet, humans, or some humans, must now be categorized as vermin” (John Carey in ‘The Intellectuals and the Masses -Pride and Prejudice Among the Literary Intelligentsia 1880-1939‘)

I’ll spare you the weak reasons for the complete tardiness of this ‘review’ of Dale's show this October in Bristol. Soz, but I’m here now, so let’s just get on with it ‘eh? And finally I get to use the word ‘tardy’ in a blog :-)

Vermin (aka Dale ‘vn’ Marshall) has long been one of my favourite writers/artists, primarily as one of the Souls On Fire (SOF) crew throughout the late 90's and most of the 2000's, so I was especially excited when I heard earlier this year that he was doing canvases of his own work, and was then preparing for what seemed to be a very tardy [got it in again :-)] first exhibition for someone in his late 30’s.

The reason for this late blooming was presumably, at least partly, because Dale has led a life and a half so far, and by his own admission not necessarily a life you’d wish for when a kid. Dale’s personal experiences and ongoing battle with his own mental health, including stays in a secure unit, is in equal parts amazing, shocking and totally understandable when you see his art (visit here for more info). I don’t know Dale but I feel some connection through his art, maybe aided by us being from the same city. My own minor battles cannot be compared to his, but I do get a strong personal feeling from all of this, and my heart skips a beat when I dip into his soul.

I get the impression that during these dark days and nights Dale probably forgot that he was an artist. He also probably forgot he was a writer. And whatever inane discussions exist in the world about what a ‘writer’ really is and who is and isn’t a ‘writer’, I’d merely suggest that Vermin was and has always been a writer, even if it might not be as obvious as when a young lad does ‘Trax’ (or whatever) in large, basic letters on a scabby wall. Dale has a totally different style to that, but his work still (quite literally) oozes his name.

So ‘Room 101, The Fine Art of Graffiti‘ showcased 101 oil paintings completed in 101 days this summer, as well as five additional show paintings and site-specific installations and wall daubings. However faint it may have seemed to the casual eye, I'd say that all 101 canvases had ‘vermin’ carved into them, like ‘Blackpool’ in a stick of rock, or to use a far darker analogy, like a self-harming teenager with a sharp knife and a bloodied and scared forearm.

Although Dale is now happily studying at the historic School of Art at Coventry University, and has a great support network around him, he‘s obviously not going to forget his past quite so fast. The Room 101 theme obviously drew parallels from George Orwell’s novel, 1984, and was most evident in the institutional paraphernalia that was scattered around the venue. ‘Dentist’ chair and prescription drug cocktails with flashing light, a recreation of his hospital bed, a freaky video, maggots in a bowl, etc. When some people walked into the venue they must have thought… erm… what the hell is this!

The canvases were amazing, and although there are tinges of melancholy, brooding and inactivity, they actually mainly radiate hope, colour, passion, energy and thoughtfulness. Just like Don McCullin hates being refered to solely as a 'war' photographer, I imagine Dale doesn't want to be just seen as doing those pretty dark abstract murals. It was a really strong body of work. I know a few professional artists and to do 101 canvases in 101 days (um... that's one a day I reckon..?) is quite a stretch, especially with a rigorous quality control as well (I think Dale had about 30 odd others that didn't make the cut).

So now I can come on to the two canvases I managed to buy amidst the slightly undignified bun fight that occurred on the opening night. A lot of people had obviously heard about the show and some even travelled some distance and waited for quite some time (and/or pushed into the queues) in order to be there first to get what they wanted. Call it madness, peer pressure or dedication, or a bit of all three. I was amazed that I still managed to get my first choice of the 90-odd canvases that hadn’t been pre-reserved or were not for sale. I really wanted at least one that had ‘writing’ in it; a sort of hybrid of ‘pure’ art and a tag. That for me was something to straddle the two worlds they represented.

When Dale later took the canvas down off the wall for me he mentioned that he learnt a lot [about oils] when he was doing this piece. That was quite sweet actually - talk about personal service! How many other places does the artist take your canvas down off the wall himself? I actually wondered if he might follow me home and want to take it back :-)

My second canvas was from the more meditative pieces on the opposite wall. Yet it still has that slight tinge of violence in it.

More power to your elbow Dale. Hope to see more from you soon. And if you do fancy a ‘time share’ visit to your canvases, pop round next time you’re visiting the Royal Arthur [this will be explained in a forthcoming blog…]

F* the F*ing F***ers - FREE 10FOOT

2010-11-26T21:45:00.017Z

photos: NoLionsInEngland except Joeppowhere noted

Standby for a bit of a rant at inappropriate sentencing.

Artist unknown - view LARGE

London tagger, bomber and graffiti artist 10FOOT has been sentenced to 26 months in prison for a long list of acts of graffiti, also known as crimes. On release, he has a weird 5 year ASBO stopping him carrying “unset paint, permanent marker pen, shoe dye, permanent ink, grinding stone, glass cutting equipment, glass etching solution or paste” or from entering train yards.

That sentence is crass beyond belief. As balance between punishing a specific individual and deterring the rest, there no doubt 10foot is suffering way beyond what would be reasonably due him. 26 months banged up is just irrational, disproportionate, unjustifiable and quite capable of having a life-destroying impact.

Do you believe society is capable of electing representatives to create laws that are then used fairly by the judiciary? You can't justify believing that when you look at the stupidity of punishments like this.

For bringing it to my attention, cap is doffed to Joeppo and the London Vandal. You can read the full list of 25 acts of “criminal damage” 10FOOT pleaded guilty to, from the BTP press release on London Vandal here.

Looking at the list, not one of the criminal acts involves rape, dangerous driving, assault, theft, fraud, public indecency, threatening behaviour or racism. They are merely making a mark on walls. So some of those marks are on trains and they are private property, that’s a crime and crimes get punished after a “guilty” verdict but there is no way our world is going to be a better place for having 10foot locked up for 26 months.

The vast majority of the acts relate to trackside shit. Now if there ever was a kind of property that the word “marginalised” was invented for, it is on the whole the kind of spots that 10foot has been bombing. The clean up costs cited in the press release have to be fabricated as there is no way that any sane individual would want to spend 31 grand (about 52,000 dollars) creating buff coloured rectangles where 10foot has done his artwork. Quite what goes into those cost estimates (railway overheads?) we’ll never know but you can employ a feck of a lot of painters for that amount.

Why are those costs so high? To make us gasp, to smear some kind of shock factor to wave over the excessive prison sentence handed down. The costs are quoted to the nearest 37p or 24p which is so ludicrous it must be just done for comic effect.

It seems pretty clear that BTP have gone after 10foot motivated by vengeance, by a vandal headhunters blood lust, they must have been burning with a crazed ambition to make a name for themselves (bloody hell, that’s close to graffiti) and to obtain a huge sentence guaranteed to make the press. You can just see them high fiving, funny handshaking and off out celebrating on hearing the sentence.

In the two photos accompanying this post you can see the name Saycell, it’s not difficult to find information on the internet regarding Colin Saysell of the British Transport Police and his obsession with making examples of some high profile graffiti artists. The Fuck the Fuckers piece also rants about “fuck jizz wally” (SIC), Jeremy Walley is also BTP and it is he who gloats over the fate of 10FOOT in the press release:

"[the] vandalism was nothing more than wanton damage that costs thousands of pounds to clean up”

Well quite, “nothing more than”, so how does that suggest 26months is the appropriate punishment?

photo Joeppo, aka LDN GRAFFITI

It also seems way over the top to take this crime to Crown Court. This can only have been to add a veneer of apparent gravity to the offences and to give BTP the big stage for their performance.

Did the judge have discretion to impose a more appropriate, less damaging punishment? We don’t know the technical legal answer to that but surely some serious community service perhaps coupled with that ASBO would have been less harmful. That last word is key in our minds, harmful, this punishment is likely to cause great harm to 10foot yet he has not actually caused harm to any individual anywhere.

Do you think the experience of sending 10foot inside is possibly going to “improve” him? 10foot is personable, affable, articulate and socially is not particularly attention seeking. After 2 years inside he is likely to pick up a shit load of new skills and attitudes that may make him a completely different proposition.

Of course, if he signs up for all the basket weaving and art classes the irony is when he is released he won’t be able to buy art materials unless someone else carries it home for him.

We are alarmed to read in the press release that his girlfriend’s house was raided. In the BTP press release they say the raids yielded photos of him fraternising with other known graffiti “vandals”. Well bollocks, Graffoto can be seen fraternising most weeks with some well known graffiti vandals and we’re not aware that that was a crime.

Just going back to the 26 months inside, how can this possibly proportionate or appropriate when a very cursory search on the net yields sentences such as 12 months for multiple stabbing and 24 weeks SUSPENDED for careless driving in the hit and run killing of a cyclist. In the list of headboard notches displayed in BTP's list of press releases there is a case this month of a man sentenced to 1 year imprisonment for raping an 86 year old woman travelling alone in a train carriage. Compare the horror of that crime, the impact on the woman and her family, the heightened fear engendered in her friends and other elderly people and solitary travellers with the nature of 10foot’s campaign of quietly sneaking about and writing his name. There won't be a single individaul who said "my life is perceptibly worse after that piece of graffiti" yet 10Foot is doing twice as much as a rapist. This may be law but it is not justice.

BTP, The crown court, society at large, you should be ashamed of yourselves. FREE 10FOOT.

artist: Robbo; photo: Joeppo, aka LDN GRAFFITI

Selection of 10FOOT graffiti here and here.

After a recount, this is Graffoto’s 200th post and we are proud that it is about such an important and serious matter

Broken Windows Footnote:

As a curiousity, in doing a bit of googling for this post, we came across a statistical analysis in the US which proves there is very little link between incidents of graffiti and incidents of other forms of crime – despite what the authors of the web page say. You can see generally from the graph plots that things are pretty scattered and you’ll be greatly puzzled by the low R-squared coefficients which suggests the correlation between the two graphed parameters is tiny, you need a number close to 1 to indicate a close relationship between occurrence of graffiti and occurrence of other crimes and the values in the plots are no higher than 0.26. And that’s after they removed some data which would have made R squared even lower. Check it out here.

Mantis - Altered State

2010-11-20T01:58:00.011Z

Lord Napier, Hackney Wick
18 - 20 Nov 2010

photos: NoLionsInEngland except Howaboutno where stated

We like our street artists a bit elusive and few come more enigmatic than Mantis. The mystery revolves around the un-signed socio-political work on the streets and the comparative scarcity of paintings and prints. Mantis is a regular street defacer, his repertoire including epic stencils, defaced road signs and his own installed road signs though he has been known to freehand paint some large figurative pieces by the side of canals.

"All Fall Down", photo HowAboutNo

Quite often attribution to Mantis is process involving “definitely Banksy” followed by “not sure” followed by “not on Bansky’s website” sheepishly concluded with “oh, its on Mantis’ website”. The script goes horribly wrong when pieces are initially attributed to Grafter followed by a consensus that in fact Eelus was the painter

Mantis, not Eelus, nor Grafter

You are here (no exit)

One of Hackney Wick’s particular landmarks is the derelict Lord Napier pub hard by the Hackney Wick overground station.

BUSK

This has been derelict for years and Mantis has chosen its blackened interior to host his first ever solo show.

Painted wall background by Busk

In the first room, a granny’s living room, as comfortable as a slipper, complete with tweeting parrot simulates a world of contemporary modernity denied. A rocking chair provides a cosy perch next to a roaring fire – flames by Busk – in which Granny would sit and contemplate the sepia toned on the wall.

A couple of the finely drawn exercises have been seen out on the streets in stencil form, though it seems unlikely that they are stencils on this occasion.

Hopscotch (Hope Scotched)

The End Was Nigh

Glimpsed through the open door is the parallel exterior world of grim and congested urban landscapes and threatening spooky weirdness. Hanging on dirt streaked un-painted walls are a series of spraypaint and ink drawings on canvas and wood, celebrating a sort of retro modern architecture on one side and playing with life and death on the other.

The particular fish-eyed perspective of this ink drawing over aerosol spray on wood has the luminosity of Hopper’s Nighthawks combined with a bit of Rushka perspective.

Corner Shop

Mantis’ street work combines humour with social commentary and occasionally the humour surfaces in this show like this crushing of the Warholian legacy. A bin below this painting held a collection of empty Campbells soup tins, replica labels made by Mantis.

Recycle

Several of the paintings explore the future architecture theme, on the end wall the whole planet is covered with skyscraper buildings which chimes with the dire predictions implicit in simple but effective street pieces by Mantis.

Stop Consuming

In one corner a slot machine plays games with our fate, the buttons teasingly invite us to play or not play, the spinning reels indicate life or death and the nudges don’t deliver on the promises the labels make

Grim Reaper optional

Mantis has coyly omitted any sign that the art might be for sale, no drawing labels, no price list, in fact no indication anywhere of even the artist’s name. Self effacement is taken to the limit here. This show is fascinating just for the fact that it is by Mantis and revelatory in the undoubted quality of the drawings. The show runs for just three days and at time of writing closes tomorrow with a party, though we understand the paintings may be removed before the fun begins since it is planned to be a bit of a bop.

Oh, Now I see

Mantis is the kind of artists that delights Graffoto so we are particularly pleased that his debut show should be the subject of Graffoto’s 200th post. Happy 200th something to us - yeeeeeeeeahhhhaaaawwww

More images on flickr here

Swoon Scene in London

2010-11-13T02:29:00.010Z

Photos: NoLionsInEngland (who is slightly peeved that blogger is trimming the right hand edges of landscape pics so that central elements shift to the right and important info is not visible. Click through landscape pics to see the original image)

Swoon was recently in London combining the installation of her part of the Small Acts of Resistance show at Black Rat Press with leaving a few pieces on the street.

A few years back, Swoon left some stunners on the streets of London.

Coronet St filigree

Girl From Ranoon

Both of those ran for a long long time and for me they never became invisible background, I never ever got bored of seeing them.

In those days the buff was a council employee and he told me one morning that he could see those Swoon pieces were things of beauty, though he had no idea they were “Swoon”, and he said he’d never buff those.

This photographed in late 07 but was definately there in 2006, the grain of the woode hoarding has cut into the paper and lent a gentle curving wash to the art.

This time round Swoon has put up 4 street paste ups, at least, that’s how many we have found. More knowledgable Swoon spotters have opined that these four new images haven’t been seen before which is cool for us locals.

This first one saw her returning to Blackall St, location of the Girl from Rangoon at the top. Blackall Street these days is a noisy battered alleyway with generally mediocre but occasionally adequate paste ups, Swoon’s piece is sort of jostling for elbow room in the crowd and that optical bedlam just doesn’t allow the piece to interact in any meaningful way with its environment, you probably need to know that the boy is gazing at some non-descript two storey offices opposite.

Swoon 2010, Boy from Haiti?

The last piece Graffoto found (well, HowAboutNo) sits in a very nice spot, I love the way the more delicate transluscent sort of paper Swoon has used here allows the colour of the two columns of London brick to seep through. Again he is scrutinising a fairly dull brick built office. Perhaps staring at places of work is the theme for this autumn's street collection.

Swoon 2010

Like the one above, this third one sits in a nice location and has awesome levels of detail within the art.

The final piece sits a little off the beaten track but not too far from Black Rat. The grainy detail pasted to the wall and even in the textures of the brick itself really captures a weathered and ancient face. When you look at the amount of detail in the close-up you can really appreciate the astonishing intricacy of the paper doily, not to mention how tricky it must be to paste that kind of work to the wall. The pipe at the bottom of the wall looks like it is meant to be a meaningful addition to the composition or at least provide some kind of context for the portrait but we just can’t figure out what.

detail

A much more knowledgable Swoon spotter (sorry - can't remember who otherwise they would get a shout here) has said they believe the new images in London haven't been seen on the street before, which is cool for us.

The Black Rat Press group show is constructed around the theme of how substantial change can be created by individual un-sung and small scale acts of protest or activism. With each of the artists there really was a sense that the despair, isolation and suppressed individual was fully explored but little sense of what they could or would achieve through individual action, on the whole they look like they remain oppressed. Other than Peter Kennard whose wall looked like the kind of high altitude panorama shot we used to see on the news from a camera mounted in the nose of a ship-to-shore missile.

Swoon, Know Hope, Armsrock, Matt Small, Peter Kennard, Dotmaster

Swoon’s top-to-bottom whole wall piece starts promisingly enough on the left with a single child sitting on land with a blasted tree and wooden hut in the background, the scene pans across a set of steps, with a distant village in the background, is he being invited up the steps? The image just sort of petters out to the right into indecipherable contemporary box buildings, broken signage and pieces of pasted paper. It seems to speak of the plight of orphaned children following the earthquake in Haiti, it's not too clear.

Close up the layers of newsprint paper build up into the background and the image of the child is beautiful but the sense remains that we are not seeing Swoon at her gallery best.

Previous show outings in London include her favella contribution in BRP’s launch show Heaped in 2007 with David Ellis and Monica Canilao, followed later by a significant, beautiful and cleverly staged train carriage panorama at Leonard St’s Urban Sprawl show

Swoon, Urban Sprawl, 2007

Photographs of Swoon shows from New York and elsewhere show that Swoon can transform spaces and create stunning wonderlands of filigree and portraits. Her work in her London shows has tended to leave us feeling a little short changed, fingers crossed that sometime we get a fully fledged solo show fit to blow our socks off.

Show continues at BRP until 30 November 2010 - update errrr, the BRP artist bios at the show says 30th, a BRP emails says 26th. They ought to know or perhaps just like to keep you guessing

Cept, Sweet Toof - Backyard Colouring

2010-11-05T22:25:00.018Z

all photos: NoLionsInEngland

Graffoto went out hunting Swoons yesterday lunchtime, Boris Bikes for transport, cameras for the kill, separating and meeting again to cover more of the East London concrete jungle. Diddley squat, nada, nothing new, just the three recent pieces already located.

However, at the last rendezvous HowAboutNo excitedly reported that a known Burning Candy wall had been updated and the pelmet over a nearby raised shutter showed evidence of a new CEPT. Howaboutno being the less thick element of Graffoto came up with the genius suggestion that NoLions might find both the shutter down AND no parked cars blocking the garage wall if he swung past on his bike first thing in the morning.

Old - Before Colouring

And so it came to pass, there were no cars and shutters were down.

Cept, Sweet Toof

The CEPT lady is absolutely stunning, and borrows from the Black and white illusions CEPT has created in the past and a face portrait seen previously on CEPT prints (www.spradio.com – “Fly Wonder”).

CEPT has even painted the lamppost and the weird booby trapped water butt thing, though I found the optimum viewing point a little low giving a poor overall perspective. Doh.

The characters on the right are all by Sweet Toof.

Sweet Toof

The shutter nearby continues a long Cept saga of ambiguous loves won and loves lost.

CEPT

Then exploring a nearby rarely travelled lane we spotted the tips of an instantly recognisable CEPT painting and a pair of Sweet Toof teef opposite. A peep through a tiny hole confirmed a hidden secret graff art treasure trove.

Returning at lunchtime, the challenge was to find out which property the yard belonged to and could we get in. The people behind the new CEPT shutter said they could see it but it wasn’t theirs, they directed us around the corner. We pressed voice entry phone buzzers, CCTV cameras swivelled but no one answered (chiselled features, statuesque physiques and a tendency to be found at crime scenes leads to Graffoto often being accused of being five-oh). On a hunch we skirted round the whole block and came across a previously un-known art gallery. On the pretext of admiring the art, we tried the back door and it gave out onto the holy grail.

Sweet Toof

Hopefully this link might allow you see see this image LARGE(ER) (pls email if it doesn't work because I prob would need to tweak "rights")

Arch 402 is brand new, only opened last night. The gallerists know nothing about street art or graffiti and had actually been asked if they were going to “deal” with the growing amounts around the Cramer St garage. They enquired at the garage who the artists were, and let the garage mechanics know they liked the stuff on the walls and wanted more of it. Well and truly dealt with then.

CEPT

Those garage mechanics have previously featured in Graffoto reports for their resistance against the council who issued a written demand to remove the graffiti on the walls. So, a few days later, presumably about the time Sweet Toof and Cept went back to the garage wall, the gallery found it was now the proud host of one of the most stunning Sweet Toof/Cept collabs ever.

The interesting question arises – with 8 characters on the truck and one horse, which of the 9 strong Burning Candy crew is the mule and which one is the driver?

Name That Crew Member

If you travel the new East London line you are assailed by throws and pieces by Burning Candy types in the few hundred yards just south of Hoxton station, Mighty Mo and Gold Peg have running riot across the roof tops eye level with the trains whilst these two spectacular sites are immediately opposite eachother either side of the track.

Any number of street art gallerists would give their right one to have a private mural of this calibre on their walls. They’re parting question to us: “are they any good?”!!!

Sweet Toof

There you have it, Graffoto shares another lunch break with the World and Sweet Toof and Cept get a mention as well. Big Celebrations.

(ps - the bit about often being asked/accused of being cops is true – thing is, when someone wanders up to someone taking photos on skanky back lanes and says “are you a cop?” what happens next if the answer really is “yes”? The other one, really flattering...”are you a photographer?”]

Underbelly Project - NY subway art

2010-11-01T21:40:00.020Z

Photos as credited by: Luna Park, Ian Cox aka Wallkandy,RemiRough,
James Garrett

Sources - Sunday Times, New York Times

The duty of the street artist shall be to create art taking risks, pushing boundaries and exploring territories so that the more risk averse among us may vicariously thrill and admire. Note for once the curious omission of the word “public”. Writing in today’s Sunday Times (UK) magazine (31 Oct 2010) and the online NY Times, Jasper Rees reveals a secret project in which about 100 artists have created an illegal and in-accessible gallery of graffiti and street art to re-affirm a fans belief in the spirit of (errr)”street art”.

In a nutshell, two people going by the pseudonyms Workhorse and Pac have been spent 18 months escorting a selection of graffiti and street artists into a dis-used hidden underground station on the NY Metro to create and leave a single piece of original art on the walls.

Underbelly - Photo: Emile Souris via The Sunday Times

The artists mentioned in the article are undoubtedly of the highest calibre. Whilst you may criticise a book for its curation when it seeks to preach about the top 1,000 street artists, I guess in this case the selection process depends a little on who the project dudes know and can trust, who the folk they know know, who they can cold call and interest in the project and so on in a sort of viral spiral selection process. It would be interesting to know who said no. Banksy is identified for one ("thou shalt not publish a street art article in the mainstream press witout mentioning Banksy". Opps - and in a blog ;-) ) .

Graffoto spoke to one of the artists identified in the Sunday Times. He was invited to come to new York for a painting event and took a lot of persuasion, principally as the flimsy information he was given was unlikely to convince his wife that he wasn’t just swanning off to NY for a lads’ weekend. Things became a little clearer after committing to travel but even the day he went into the station he had little idea of the brick canvas on which he would be placing his work.

“I met at Workhorse’s place for a rather limited briefing about what we could expect, they showed us a filmed walk through of the access so we’d be prepared for the risks involved and they had allocated a spot which they thought would work. “

Anyone slightest familiar with painting in train tunnels will know the most common access involves walking off the end of platforms, after first checking for public, workers, CCTV and other detectors. Our friend confirms in essence that was how the march to the abandoned station commenced, though the trek itself was longer and more convoluted than the Sunday Times article would lead you to believe.

“The place was pitch black, I could see very little work done by the other artists, I saw a Lucy MacLauchlan, the only light down in the place was the small amount of floodlighting on the spot I was painting. The organisers hastily rigged the lights and set up their time lapse cameras for documenting the work”.

The place was un-nerving, fear of detection by the authorities blended with legends telling of angry subterranean dwellers, mutant rats and tunnel prowling crocodiles easily spooked out of towners. According to the emerging stories, the station is one of many which were built by the ambitious and pre Great Crash NY authorities in the 20s to meet the grand aspiration of a station every 200 yards.

The process of entering and painting is recalled by our contact as “cloak and dagger yet incredibly intense”. The most gratifying aspect for this artist wasn’t the clandestine operation or the awesome collection of work coming together, it was getting to paint in New York, home turf for the 1970s NY graffiti legends which led the young artist to pick up a can many ago.
“Painting in New York has a strong resonance, I have been there nine times and this was the first time I had actually painted there” he said.

ROA - Photo: Luna Park

The organisers guided over 100 (UK Sunday Times), i.e. 103 (NY Times) artistes into the spot at various intervals over the past 18 months. NY policy don’t pussy around when they catch illegal art being created on the steets, never mind on MTA property so the stakes were incredibly high in this illegal undertaking. Meticulous planning and execution of each visit was required to minimise the risk of detection. Artists were only allowed 3-4 hours to complete their work. Due to the incredibly limited light available and very restricted amount of time allowed underground, our friend the artist regrets that he actually only saw a fraction of the work which had been completed.

The roster of artists drawn to the project by the organisers is very impressive. From the various “authorised” sources, we can identify: Boxi, Ethos, London Police, SheOne, Remi Rough, Stormie Mills, Damon Ginandes, Lucy MacLauchlan, Swoon, Logan Hicks, Aiko, Faile, Ron English, Flying Fortress, Imminent Disaster, Dan Witz, Elbow Toe, Ripo, Paru Ana Ana Peru, Michael De Feo, WK Interact, Roa, Specter, Demer, Momo, Posterchild, Saber, Trusto Corp, Sinboy, Cash4, Rone Nick Walker, Revok, Ceaze, Know Hope, L’Atlas, M-City, Mark Jenkins, Meggs, Kid Acne, Lister, Jeff Soto, Smith/Sane, Gaia, Noh J Coley and a long list of names new to Graffoto including Jim Darling, Thundercut, Daryll Peirce, Surge, Spazmat, Ema, Joe Lurato, Guilerme, JMR, Asylum, Gould, Indigo, Jeff Stark, Bigfoot, Kid Zoom, Strafe.

There is a website for Underbelly which went live yesterday, at present it is a single page with a tantalising underground photograph and a blurred out list of artists. More material is promised soon.

Damon Ginades - photo James Garrett via The Sunday Times

Graffoto is Olympic qualifying standard at interpreting the blurry appearance art acquires towards the tail end of a good lap of Thursday night openings in London, it may be wishful thinking to imagine that in the blurry list on the Underbelly website we can make out other names which may be Judith Supine, Chris Stain, Dick Chicken, Jon Burgerman, Skewville.

One effect of Cans Festival was to bring a number of the participants to much greater public awareness and one suspects that the interest in this project will be huge and that some participating artists will experience a similar ascendance.

Curiously, the two mainstream newspaper articles give sufficient information to make a reasonably intelligent guess at identifying who Workhorse is, which is certainly not Underbelly’s preference.

Revok/Ceaze - photo Luna Park

The newspaper articles are worth reading for the first hand reports from some of the artists and the direct quotes of the organiser Workhorse. I don’t begrudge street artists or graffiti artists making money from their skills. I do detest them wringing their hands about the commercial corruption of the scene. Rees quotes Workhorse as saying “We finally had a space in the world [which] collectors couldn’t contaminate. A space that couldn’t be bought”. This lamenting about the good ol days when they did what they did for themselves and the buzz and because they had time and if someone else liked it that was a bonus is all a bit self indulgent. Don’t give us this bullshit about us how evil we are for participating in a market that sustains you. You did this for the thrill and I hope the artistic satisfaction, not because “we” forced you to desperate lengths to protect your non commercial activity.

That’s merely to quibble with a description of the motive, the actual project itself is un-questionably mind-blowing. A photographer who has been down there spoke to Graffoto about the sensations and dangers of being down in the subway station

“I could see the dust in the air, it was like you were under water and disturbed the seabed.”

The hazardous nature of the dust is graphically illustrated by what the photographer found emerging from the subway.

“The torch I had had a magnet on the back so you could stick it on metal things, when I came out of there, the bottom of my torch was cake in dust particles, specifically on the magnet so the dust had a very high metal content, evidence of brake dust and rail dust coming up.”

The privileged journalist writing in the papers says that the occasion he witnessed was the last visit by the Underbelly organisers. He says that on exit they destroyed the means of access. Graffoto has seen photos of subway tunnel graffiti in places such as NY’s Freedom tunnel and In Paris and many other cities it is possible but incredibly dangerous to explore catacombs, underground storm drains (beware – the most lethal) and sewage systems, we are willing to predict a resurgence in extreme urban tourism, the hunt for the space shall commence!

Sane/Smith - Photo: Ian Cox

This project would have the Graffoto glands secreting, Jasper Rees hopefully appreciates how lucky he is to have got the gig, guess we’ll never know how but there’s a shitload of documenter envy heading in the direction of that dude.

Stormie/RemiRough - photo RemiRough

The project really captures the essence of street art and graffti, where risk is paramount and commercial considerations secondary (merely secondary in this case,not absent, Graffoto would need some persuading that it didn’t occur to anyone that the big reveal might, just might, stimulate a blizzard of beneficial publicity). Reading this Graffoto post is no substitute for visiting the various anointed sources. Firstly, the two Jasper Rees accounts are at The Sunday Times (subscription required) and New York Times. In substance the accounts are the same but the anecdotes in each come from UK and NY artists respectively. The NY version has a slideshow of far more images than the other sources.

Secondly source must be the Underbelly site. As Graffoto understands, there may possibly be further videos or timelapse clips of work to go up there some time in the future, roll on!

Photos taken by Luna Park have been posted on her blog and hats off to her, she has clearly had a fantastic experience, her own personal private Cans Festival and has taken some stunning photos under extreme conditions (no light!). Don’t bother with subscriptions or whatever, head over to Luna Park’s post here.

Luna Park’s UK’s equivalent prince of street art photography, Mr Ian Cox aka Wallkandy also had the privilege of a visit to the Underbelly project. His equally awestruck account and amazing photographs are on his Wallkandy blog.

RJ of Vandalog has also been down there, his account speaks of someone who can barely contain his excitement.

UPDATE (4 Nov 2010) = Reactions to this project have been mixed and polar; strong enethusiasm (Graffoto!) and deeply hostile. In the latter camp would be many Urbex aficionados and it is clear why this disclosure would offend their usual modus operendi, plus others critical of the "not intended for commercial gain" stance whilst creating a storm of publicity in the "reveal" (also Graffoto). News has broken that within three days of the articles appearing in the press, a lot of the works have been dogged. see pics here.

Graffoto is fortunate that it had no inkling that there was any such project underway so when the sunday magazine fell open on the right page, from zero awareness to instantaneous full impact was a delicious sensation. Shame if you happened to be vaguely aware about it before hand ;-)

UNRELATED BUT IMPORTANT NEWS: readers of Graffoto may be interested to know that the Wallkandy Forum has re-opened, head over there for more mature pontificating on street art, urban art and graffiti than one or two other forums that we won't mention. Note that the old www.wallkandy.net doesn't appear to work, you have to use the www.subversiveart.proboards.com. Enjoy, participate and play friendly.

Moniker Art Fair, Adam Neate, Frieze

2010-10-15T00:21:00.010+01:00

Moniker Art Fair, 14 – 17 Oct 2010
Holywell Lane, London EC2A 3PQ

Adam Neate “The Flock Series”, 12 – 30 Oct 2010
Elms Lester Painting Rooms, 1-5 Flitcroft St, London, WC2H 8DH

Frieze Art Fair, Regents Park, 14 – 17 Oct 2010

{links above go to location maps}

All photos: nolionsinengland

Graffoto had an awesome day’s release from the grindstone today (Thursday 14 Oct 2010), spent hours at Frieze Art Fair, then cycled down to Elms Lester to see the 5 new Adam Neates on display, over then to Shoreditch for Moniker Art Fair and finally Choque Cultural Brazilian street art at Pure Evil gallery. Those legs need a rub. One day encompassed just about every valid form of contemporary art other than graffiti that is happening in London and, by extrapolation, the World.

Frieze is an overwhelming and exhausting experience. Quite a lot to like, quite a lot not worth giving two figs about. Adam Neate however has continued his trajectory and theme, creating anonymous portraits using multi-media coloured, painted, mirrored and transparent Perspex and metal. Compared to his incredible show there last year, there seems to be more depth literally in the 3D sense to the work but the movement seems to have been replaced by form, contour and shadowplay. At Frieze I saw nothing that was as interesting from an art perspective or as challenging, beautiful to behold and stimulating.

Elaine Sturtevant, Frieze

Reflecting on Frieze I realised that there wasn’t a single artist displayed who I would be aware of as being street or urban. Why is that? Culturally, graffiti, street art and urban art has an enormous fan base extending to almost anyone who has grown up through hip-hop, music and art in the past 40 years yet there is no evidence of this culture at the top end art fairs.

Adam Neate

The point of this write up is to highlight Moniker Art Fairs’ attempt to create a satellite urban art fair to bring this work to the wider more “received” art aficionados who this week grind the line between Cork St and Regents Park (Frieze) and to fill the void left after the demise of Zoo.

Throwing a few descriptive words out there to capture Moniker Art Fair:

Street Art – artists with work on display and or even creating live include, in no particular order Steve Powers, Faith47, Ben Eine, Herakut, Date Farmers, Jaybo, Swoon, Bast, Titifreak, Polly Morgan (ok, hand aloft – I don’t get how Polly Morgan fits into the street art scene unless the link is that you find dead animals by the side of the road, but I love her stuff so I’m not quibbling). If that looks like a list of weird unknowns to you, get thyself to Moniker for free and painless removal of scales from eyes. There is even a token Banksy (No Ball Games print) but that looks dull and jaded by comparison with the company it keeps.

Steve Powers

International: galleries from London, New York, Berlin, Milan, Los Angeles mainly focussing on their domestic artists

Jaybo Monk, CircleCulture, Berlin

Solo projects – a number of areas are given over to installations and mini solo shows which artists have really used to push themselves, this isn’t just junk that hadn’t shifted since the art bubble popped. Don’t miss:

Herakut – a section which reminded me loads of the red parlour room downstairs at the Dirty Laundry show in 2008, three or four delicious paintings and, must most eye-poppingly, a sculptural casting. Fascinating to see a characteristic Herakut animal masked figure rendered in 3 dimensions;

Herakut – Campbarbossa, London

Eine – a wall mounted collection of landscape font fetishising single word signs, some probably 10 to 15 feet long exploring a whole range of different fonts not normally seen in the EINE lexicon, plus a street alley tableau featuring a couple of shutters, a stickered and graffiti’d wall with props to a bunch of his London mates (not to mention I reckon quite a few websites guerrilla ambushing the wall with their stickers). I confess to being reminded of the signs Cyclops exhibited in several previous shows.

Polly Morgan – a coffin in a crypt erupting with stuffed chicks sits opposite a recreation of a taxidermist’s studio, creating an impact similar to the Banksy studio recreated at his Bristol show.

Polly Morgan

Films – there is a schedule of screenings of key films, I look forward to seeing Beautiful Losers for the first time and Bomb It II is being previewed.
Faces: at the opening tonight you couldn’t swing a cat stuffed by Polly Morgan without striking a key participant in the street art scene, an artist at your elbow, a gallerist smoozing, a photographer sliding off a bar, all forms of life present. We could call register but there isn’t space, doubtless those private view “court and social” photos will pop up on flickr.

Date Farmers – New Image Art, LA

Activities: Nicked off the Moniker website –

October 15th
- 11am-9pm/ Open to the public
- 12pm onwards/ Live Paint on Exterior Walls by Artists HERKUT
- 11.30pm-12.45 / RJ Rushmore [Vandalog prime mover} Inside/Outside Fair Walk-through
- 1.30pm-2.45 / RJ Rushmore Inside/Outside Fair Walk-through
- 5pm-7pm/ Film Screening - Guerilla Art by Sebastian Peiter
- 7pm-9pm/ Very Nearly Almost Magazine Launch - Guest List Only

October 16th
- 11am-9pm/ Open to the public
- 12pm onwards/ Live Paint on Exterior Walls by Artist CASE
- 7pm-9pm/ Film Screening - Beautiful Losers by Aaron Rose

October 17th
- 11am-5pm/ Open to the public/
- 12pm onwards/ Live Paint on Exterior Walls by Artist TITI-FREAK
- 1pm-3pm/ Film Screening - Bomb It 2 by Jon Reiss

Graffoto obviously preaches to the converted so we suggest that if you have a friend planning to attend any of the West End shows, specially Frieze, tell them that at Moniker there will be no queues, cool art and a far less tiring and twat filled (ok – you might want to paraphrase that part) environment that at Frieze and they will come away enthused rather than knackered. Tell them to go to Moniker first in the morning because in the evening they will be wiped out if they have been to Frieze first and they can swan around Frieze muttering loudly about the cool and cutting edge event they just went to out in East London, though its actually very easy to get to, about 10 mins walk from Liverpool street or Old Street tubes and after Moniker Regents Park is barely 20 mins tube ride way.

Futura – Campbarbossa

Tell them also not to miss the delicious wood paintings by South African Faith 47 tucked away on a very obscure wall by the rear fire exit, behind where the bouncers congregate.

In some ways the idea is not too dissimilar to The Thousands show staged here last year but the key is the variety that comes with the different international galleries and the timing to coincide with London for one week being the very epicentre of the international art world.

Just so you know, no one at Moniker or anywhere else for that matter has asked for this to be written or even knows that Graffoto holds this opinion and plans to write this. Graffoto will be maintaining its rigorous stance on not publishing flyers nor promoting forth coming shows with gallery blurb, we just felt on this occasion this needed to be said.

WK Interact – Carmichael Gallery (if memory serves), LA

More photos here

Hell's Half Acre - Lazarides Group show

2010-10-12T00:31:00.015+01:00

Leake St,
Waterloo
London
12 – 17 October 2010

All photos: nolionsinengland

Hells Half Acre promises to be a Halloween-ish subterranean wandering loosely based upon Dantes’s inferno.

You enter off Leake Street, now one of London’s premier graffiti halls of fame and therefore generally only worked by visiting writers from Prague and New Zealand. The transition from graffiti assault to Circles of Hell central you enter through a short brick lined cave where Dave Choe has been let loose directly on the walls. (er - perhaps i got the wrong impression, just hold on a mo...)

David Choe

Top highlight inside is the art taxidermist Poly Morgan’s almost luminous explosive cluster of stuffed pigeons. In a more radical and interesting world, this would be available in Ikea.

Poly Morgan

Conor Harrington has a set of 5 huge canvasses hung in the arc of a circle like something you might chance upon at night in a wood clearing just when you were beginning to believe you had passed the “virgins sacrificed here copse”. Harrington’s work is just made to be shown in this kind of moody The moody dank cellar vibe sets off the lush tones of Harrington’s work to vibrant effect, as usual.

Conor Harrington

Ian Francis’ work comes on in leaps and bounds, though I would now struggle to tell the Chloe Early from your Ian Francis in an “eyes-wide-open-but-labels-covered” test.

Ian Francis

Laz is your consummate leveller with none of the usual “don’t breath/ don’t photograph” preciousness, the website promises “Interaction with the works will be encouraged as part of this multi-sensory experience” though the only interaction I can recall was getting Lady NoLions’ camera wet in a drizzle installation across the width of one of the caverns. Apparently from a certain angle with the wind in the right direction it captures the light and splits it into its spectrum components though, as a visiting gallerist assured me, “it’s quite difficult making rainbows”. No photo.

Sphere with hypodermics – possibly Paul Insect?

Anthony Micallef’s work is getting more impressionist and darker with the increasing affinity for charcoal, like the Harrington the utilitarian backdrop really allowed the work to pop.

Anthony Micallef (fairly certain)

With a decent art show the experience is the objective dear boy, not the art education. So it’s a pleasure to confess that I couldn’t pin down a large number of the installations to an artists and then reading the blurb after the show, couldn’t identify half the artists’ names on the sheet.

(I thought this was Charles Kraft – but he’s not on the list) - UPDATE - Anthony Micallef - thanks "anonymous"

Mark Jenkins hanging humanoid chrysalis artefacts passed me by, they need pretext or context, are we looking into a human battery incubator or the pantry of some vampirish food preserver, dunno.

Mark Jenkins

Jonathon Yeo’s infamy rests on portraits collaged from clippings from porn mags. On this occasion he has pulled of a trompe d’oeil consisting of several layers of perspex with collaged nude clippings on each layer which for a person of a particular height, viewing from a particular point dead ahead combine and resolve into a pair of praying nude females. Tapping into lust as one of Dante’s circles this piece is amusing and delightful, if just a tad gimmicky.

Jonathan Yeo

There were many video installations in various terminal offshoots from the circles of hell, the one which captured the eye and the theme of death, torment and decay was a trio of what appeared to be back projected petris dishes with writhing maggots. You feel like standing there egging the buggers on to hatch.

Unknown (to me)

This is the hedonistic green shoots of the London art week, the week where bedlam meets capitalism in the name of decoration. The anointed PV’ers were a phenomenal clash. Italian suit-wearing suave faintly Mediterranean guys and their willowy black dress wearing Tasmins rubbed shoulders with un-shaven artists and the usual suspect forumite Laz fetishists. Graffoto – the blog that is proud to be plus 1! (thank you dear friend and “invitor”, you know who you are).

Vhils

The curation and staging of this show is superb, as you would expect from Lazarides. I was reminded of the Faile Lost in Glimmering Shadows show in that old school or Paul Insect's Poison in the old Kings Coss baths. Dwell on the quality of the work and the dream-like nature of the staging as overall I think this show may actually not live up to the hype, the creation of false expectations. This is an “experience” event and the experience is probably a bit conventional and tame when something more fiendish and macabre seemed to be promised by the allusions to Hades, not to mention the dire warnings that under 13s are going to need adult comfort and counselling. I suspect my kids would prefer to go to the London Dungeons.

More photos here

Vhils

Mike Ballard - Whose Coat Is That Jacket You're Wearing

2010-10-10T00:59:00.016+01:00

Walker's Tailor
157 Robert St,
London, NW1 3QR
8 – 23 October 2010

All photos: nolionsinengland

"I woke with a bolt this morning. I had been dreaming about the night my jacket went missing. I could see it all in the dream. Where everything and everyone was in the pub. M and E were sat at the table as I got up to goto the loo. My jacket hooked over the back of the chair. As I enter the loo, M goes to the bar, and starts chatting to two girls, while he’s waiting to be served. Elliot goes over to join hime (sic) and help with the drinks. In that split second A guy moves over to our table, squeezing through the crowds, grabs my coat and is out through the door, all while I am still pissing. It is the night everything changed." MBSC:JC/200.19

Ever wondered what kind of kunt lurks in a bar with the objective of stealing your personal property? Well Mike Ballard has created an art spectacle proposing “I am that kind of cunt”.

Mike Ballard has spent ten years taking his twisted and silent revenge on an innocent(ish) society. His story is that ten years ago a prized jacket was stolen from him in a bar. His grief and rage prompted him to go on a larceny spree, stealing coats in revenge against that silent unknown threat, the bar dipper.

Walker's Tailor

Now Mike is contrite, seeking to right his wrongs and to exorcise the demons. “Whose Coat is that your jacket is wearing” is a display of 200 coats Ballard stole during this 10 year campaign of shame and evil. Turn up, you might find yours and if you do Ballard wants you to have it back.

There is a twist of course, you have to be able to rigorously prove it is yours. Ballard never stole to profit, or to clothe himself or even particularly to inflict trauma and pain on any individual victim, he stole as revenge. He would then photograph every jacket, note the date and record the contents of every pocket. So can you remember what packet of sweets and phone number written in lipstick was in the jacket when it got stolen? Ballard has it all catalogued on a secret indexed card database and you just have to get the description of those details right to get your coat back.

"Fashion Week is here again, and loads of after parties going off. There’s always some dizzy intern working on the coat check" MBSC:JC/200.125

The show itself takes place in a tiny shop, seemingly formerly a tailor’s workshop, A densely packed forest of jackets hang down from the ceiling, you have to stoop low to move around. Hanging from each jacket is a kind of dated looking luggage label, each of which has an entry from Ballard’s diary.

The first sensation that hits you entering this cramped space is the smell, a whiff of damp mustiness falling off a collection of wet weather gear that has been stored away for too long in a dark cupboard.

The art within this show has to be perceived as a number of layers. Firstly, the tight packing of the clothes obliges you to see the aggregation of the individual deeds, the woods rather than the trees. The artistic desire to create a shock is partially satisfied with this overwhelming sense of the total misery represented by all this stolen property.

Ballard has structured the experience so you can’t really take in the details of individual garments but what you can appreciate is the next macro level of detail in the experience, the individual; statements tagged to each jacket. These reveal the real art of the show in the detail of the personal confessions, the insights into the mind and bizarre logic of the serial coat purloiner. One thing missing from these written vignettes is any sense of shame or guilt. Quite often the message is one blaming the victim and the words lead us to conclude that Ballard has actually never stopped blaming himself for whatever lapse or buffoonery on his part led to the loss of his jacket.

Of course there is way more to this than merely running a lost property locker. What Mike Ballard is saying is let’s see how much you can take, how sanguine can you be about the notion that celebrating other peoples transient misery is art and here we zoom back out to the” big idea” level of his art. It certainly has a shock factor. It is verging on performance art, and a very cerebral performance at that. Ballard is putting himself in the firing line (metaphorically if not always literally, it may not actually be Mike Ballard in the space at any particular time!) for the moral indignation of the many and of course the special fury of the few should any victims actually find their coat among the Ballard trove. In terms of the personal danger Ballard might be placing himself in this is almost up there with the conceptual artist Chris Burden who had a mate shoot him in the arm for art in 1971.

Let’s not forget the risk of police scrutiny Ballard may attract. Stealing coats is theft, thieving on this scale goes beyond petty, who is to say that Ballard won’t find himself assisting the Met with their enquiries some time soon.

"Were the answers to be found in this long war of the will against the power of taboo? I doubt it so I took another and another and another" MBSC:JC/200.161

The added ingredients in this conceptual layer cake include the idea of catharsis through public humiliation and also the challenge to a Society which incarcerates as a punitive measure – can you forgive me? If you can’t forgive the reformed coat thief, then what’s the point in prisons because you will clearly never forgive nor forget anyone who has been through the “that’ll teach you not to do that again” system of correction through punishment.

The reaction to the announcement of this show has firmly focussed on the big concept, both public (via the internet, that lovely dis-intermediating tool for direct and un-censored expression) and press have homed in on the clash between the artistic concept of creating a shock spectacle out of stolen property and the personal risks taken by the artist in revealing this despicable history.

Ballard is unique in creating a art concept that exposes him to vilification and possibly violent retribution, it is fascinating to watch and interest provoked in his concept has gone world-wide. With this particular genie now out of the bottle it is possible to run with a whole new genre of “Look I’ve been naughty, me” concept art performances.

"Why put your coat in a locker then not pay the 20p to lock it. It doesn’t make sense for the sake of 20p. You will from now on though" MBSC:JC/200.92

To test the integrity of the back story, and to dispel the notion that even the facade with its tangentially linked and convenient name might be a sham fabricated by Ballard, with a little “due diligence” on the internet Graffoto tracked down a photo of Walkers Tailor in its genuine previous life.

photo from online business directory here

Open during the huge draw that is London’s Frieze art fair, this show is very close to the Frieze site, about 10 minutes walk from the Frieze entrance if you cut through Chester Terrace to Albany St, or about 20 minutes if you walk the long way round past Great Portland St tube station. This is likely to be more confrontational than anything you are likely to see in that tented world of the surreal unreal.

Graffoto has been a champion of Ballard’s art, his immersive room experiences and the quality of his canvas paintings and light boxes have always been exceptional. There is nothing on sale here which actually isn’t new for Ballard but still this show is a totally new kettle of aquatic lifeforms. It is a show big on concepts and big on risks. It’s a show designed to be controversial, intended to shock and bound to provoke extreme reactions. The crime of stealing coat is a very intimate one, the property is personal and in virtually every instance the victim and perpetrator are in the same room at the same time. Should anyone identify their jacket, respond to the provocation and give the artist a slap, we will be at the front of the queue pointing and saying “you got what you deserve”.

"B. just called me and said she had her handbag stolen. Shit!!!....what the fuck, I’m raging but what can I say. I hope she never finds out what I’ve been doing. " MBSC:JC/200.39

we are merely vermin

2010-10-09T13:24:00.024+01:00

A brief retrospective on the Souls on Fire (SOF) lads, and a special mention for Vermin who has his own show this month

All photos by shellshock

“If human beings were shown what they're really like, they'd either kill one another as vermin, or hang themselves“ (Aldous Huxley)

I’ve always been partial to a bit of the Souls on Fire (SOF) crew. They make you work. It’s not a picture of a decent looking woman, or a 6th Former’s clumsy political message. They make you wonder what it is in their art that you like. It makes you delve into your inner core to worry about yourself and your own frame of mind. Am I a bit mad because I like this stuff? Don’t answer that question….

I wanted to do a short blog on their work, and when I had a look through my photo archive I realised that they are slightly elusive and their pieces were rather thin on my ground. But it’s still nice to raid the archive and show a smattering of their productions in Bristol.

SOF mainly hail from Frome in Somerset (pronounced ‘Froom’, like vroom, and NEVER ‘Frowm’, like gnome, although more and more newsreaders seem to be doing that) and consist of Pen, Boswell (who used to write under the name ‘Warp‘), Vermin and Rowdy. They mainly write and paint in Bristol and as you’ll see from my slightly random photos they also often work on their own, plus collaborating with other writers, some of whom may not be obvious choices.

Boswell & 3rd Eye - St Werberghs tunnel - August 2008

Pen & Rowdy - St Werberghs tunnel - August 2008

Here’s a few from the Mina Rd tunnel in Bristol a couple of years ago. Boswell does his customary ‘Where The Wild Things Are’ type creatures, but 3rd Eye has his ever so slightly fluffy edges with cartoon-ish characters (still maybe not a cartoon for the kiddiewinks though...).

Pen writes his name like he’s under electric shock treatment and Rowdy shows his ‘other style’; that of ethereal impressionist abstraction (it’s not all crocodiles and painted rocks you know)

Boswell and Pen - The Deaner - July 2009 (with a sliver of Kato on the left)

Boswell and Cheo close up - The Deaner - July 2009

Boswell and Cheo - The Deaner - July 2009

Over the other side of town, I’ve found a few in the archive from the Dean Lane skate park in July 2009. It’s no surprise that Boswell and Pen mutually work together (top photo), but let’s be honest who would have expected Cheo and Boswell to be able to sit on a wall in sync!? Somehow they pull it off, rather like a nice cop / nasty cop routine.

Vermin and Mr Jago - Stokes Croft - September 2010

Vermin - close up - Stokes Croft - September 2010

Finally, I’ve pinned one down from Vermin (a.k.a Dale ‘vn’ Marshall), painted this summer with Mr Jago round the back of Stokes Croft (the self proclaimed ’cultural quarter’ of Bristol). The emotion and fluidity in both of their work shines out for me.

I think it might be my Asperger’s leaning, but I could lap this stuff up all day. I find the abstractions and fantastical meanderings mesmerising, and I‘ve never been afraid of a bit of darkness and emotion. It‘s probably therefore no surprise that my favourite canvas was done by Crie, from the Trans Pennine Nomads (TPN) crew; someone I’ve blogged on several times before. And no visitor has ever had a bad word to say about it (yet.... Nolions & HAN have never been round to my gaff...lol)

My Crie canvas

So, I’m looking forward to ‘Room 101, The Fine Art of Graffiti‘, which is Vermin’s first solo show, opening this week. It showcases 101 oil paintings completed in 101 days this summer, as well as five additional show paintings and site-specific installations. Details are on the flyer below.

The room 101 theme obviously draws parallels from George Orwell’s novel, 1984, as well as Dale’s personal experiences and ongoing battle with his own mental health, including stays in a secure unit. His history and life story (visit here for details) is in equal parts amazing, shocking and totally understandable when you see his art. I don’t know Dale but I feel some connection through his art, maybe aided by us being from the same city. My own minor battles cannot be compared to his, but I do get a strong personal feeling from all of this, and my heart skips a beat when I dip into his story and his soul.

The show also has a dedicated website here

Papal Bull

2010-09-18T20:23:00.009+01:00

Pope In London - Street artists rise as foretold

photos Nolionsinengland except S.Butterfly where noted

Benedictus episcopus servus servorum Dei, Pope Benedict, Bishop, Server of The Servants of God, etc etc is in the UK to give us a bit of a telling off and to enjoy one of the most expensive inter-city long-weekend breaks on record (Twelve million quids worth is the accepted estimate of his inclusive board and travel deal). Graffoto was a little disappointed that the opportunity presented by the elections in the UK this Summer passed by un-remarked by most of the street art/anarchist community, perhaps with the honourable exception of Dr d, so it is encouraging to see quite this papal visit has stimulated the minds and exacto knives of a few stencilistas in London. For anyone not familiar with the circumstance, the two protest themes hinge around expense and paedophilia cover-ups.

Top prize goes to the ever thoughtful K-Guy who placed controversial work in a couple of spots designed for maximum visibility to the papal entourage and all passing Catholics. K-Guys is at his best when presented with a toxic cocktail of politics, religion and hipocracy and the quality of his political work is sustained in this hear-no-see-no-speak-no cannon-ised monkeys. Reducing the pontiff to the level of a primate and mocking the Church’s inability or un-willingness to properly and clearly address the horrendous crimes committed within its’ sanctuary by a few (“Paedophilia is a sickness, they were “ill”), this work pulls no punches.

K-Guy “see-no-hear-no-speak-no”

K-Guy placed a version of this image on Thursday night on the Popemobile route to Westminster, Graffoto made a detour on the way to the day job on Friday morning arriving just as one chuffed-to-bits cleaner removed the piece off the streets. 0-1 to the buff.

I’ll ‘ave that

K-Guy was motivated to go one better for the Pope’s benefit on Saturday (today), placing a second specimen inside Hyde Park where the Pope was due to lead an open air séance or something. Wonder if it survived until the vigil, certainly thousands of Catholics will have got the message if it did.

K-Guy

SPQR also addresses the popular theme of papal cover-ups, this splendidly executed work referencing the less than transparent internal investigations supposedly carried on by the Catholic church. Being placed on a gallery wall miles from where the papal retinues and the flock would gather renders this effort a tad futile but to be fair to SPQR, he was presumably rather busy with a solo show opening at Signal Gallery that night.

SPQR – “Report Exposes Church Sex”

Much closer to the heart of the papal action geographically speaking is Nick Walker’s Cardinal Sinister placed on the walls of the Royal College of Art immediately outside Regents Park. Nick Walker renders the Pope as a Blofeld-like evil head of a sinister organisation stroking the cat on his lap. We like the analogy to the head of a crime based organisation, the stencil has impressive scale and detail but we feel the Royal College of Art gains more through boosting its’ flagging “edginess” quotient than Mr Walker gains for his imaginative composition.

Nick Walker "Cardinal Sinister"

We thank the ever vigilant Ms S Butterfly for photographing this effort by Raymond Salvatore Harmon (anyone like to hazard a guess at his religion?) aka RSH, location unknown. Perhaps the splatters of blood are a bit OTT but the few pieces by RSH we have seen recently have been almost violently dayglo, the point of the work is more important than the colour palate.

RSH – Suffer The Children (photo S Butterfly)

D*Face used the opening on Thursday of a retrospective show at Electric Blue Gallery, Middlesex St to mock the new religions of corporatism and branding with his logo cross (curiously, this time hung upside down St Peter style), previously seen at the 2008 aPOPcalypse Now show.

D*Face logo cross (aPOPcalypse Now, 2008)

The Pope angrily charged D*Face with what he called “Aggressive Atheism” but the bulk of the mainstream press have chosen to interpret the remark in the wider context of British Society.

Poster Boy In London

2010-09-03T04:25:00.015+01:00

Dog days of Summer suck and taking a family holiday at the end of August can involve compromise. For me the compromise became apparent a couple of weeks ago when an calling-all-art-knobs email arrived announcing a Poster Boy multi-location book launch, one leg of which would be at the Pure Evil Gallery, London.

Within minutes, a sceptical buddy mail arrived saying “oh yeah – Poster Boy...one dude.....four simultaneous launches around the world [ish, London and 3 in the US] .... does not compute”. Fuck that I thought and got back on the kite board (kinda – day 1 is body dragging)....I wasn’t going to be anywhere near so best not to dwell on the inconsistency.

Reacquainting myself over the past couple of days with what’s new and what’s forgotten in the London street galleries I was really surprised to find Pure Evil’s gallery resonating with irrefutable evidence of a continuing Poster Boy presence - books, beer and cut out paste ups strewn on the floor.

Before checking out the PVs tonight I found the end of Summer transformed by Poster Boy action on the London streets. No, I don’t know when these interventions happened other than it was today..I was there sometime before, I was there sometime after, here are before and after snaps.

Obviously this is plain simple billboard hijacking. Other than where the eyes are allowed to peek through, these pieces involve complete advert obliteration. The message here is simply political. Spending 5 minutes photographing the hijacked billboards gave sufficient time to absorb the impact this un-expected off-message message was having. Every passerby and every car driver was studying the anarchist assault.

Thanks to dastardly bastardly agency creatives discovering that mimicking street art has a powerful resonance with a certain trendy target audience, my quest over the past few years to discover more Cut-Up Collective work lurking behind, around and on top of public adverts has involved me looking at more street marketing campaigns than any ad exec could dream of. I’m pretty sure that wasn’t Cut-Up Collective's intended effect!

I had thought, having never previously had direct contact with a Poster Boy environmental enhancement, that Poster Boy’s work was purely about advertising subversion, poster remixing with wit and generally an anti corporate propaganda theme. This may or may not be true, in a couple of years I will have finished reading the book, but Poster Boy’s London blitz is hugely political, a truly remarkable thrust from a dude whose country pulled out of its most recent/current/most public global fuck up only last week.

Poster Boy was arrested in an internationally publicised incident early in 2009, nabbed by covert police pouncing on an advertised private view of a Poster Boy art show. Poster Boy got sent down, or detained, or sent to bed early or something, yet the Poster Boy campaign actually intensified. It had both a windmill to tilt at AND a huge profile. Eventually, messages reached some critical nerve endings in some street art keyboard botherers and the question “if he’s inside, whose doing this schizz” was floated. Mainstream press speculated that the wrong guy had been arrested.

Although Graffoto believes these mysteries are best left mystique intact, it seems the answer was/is that Poster Boy is a multi-testicled beast and the authority had yanked its tail. Anyway, the gentleman in Pure Evil’s gallery tonight was without doubt in my mind the same guy in this famous youtube clip and he seemed to imply that Poster Boy is a collective.

Clip by “TheKSkill”

The book is a fundraising exercise to raise money for K.A.R.A .T.E - Kids Are Rallying Against The Empire – a legal defence fund for artists who may find themselves detained at The Man’s pleasure for changing the world without license or authority. When we look at custodial sentences handed down to visual environment enhancers then any funding to protect society from the stupid mistakes of its un-elected judiciary has to be a good thing.

Apart from funding a good cause, Poster Boy has a unique way of signing the books, if you look closely you might make out that he has whipped out his razor and incized through the frontispiece to reveal Poster Boy's name on the page behind. Cool. Signed copies available Pure Evil Gallery, London and, I would guess, from Frost Gallery, NY; Carmichael Gallery LA and AE District Gallery, Miami.

copyright - whatever

The book is a photographic collection of the work of Poster Boy, including many before and after shots as well as the photographic inspiration and sources behind the ideas. The introduction nails it, don’t know who the author is but it says “This book is a piece of hypocrisy....Poster Boy’s high-minded rabble rousing is starting to reek of bullshit. After all, Poster Boy detests the media but wholly depends on it as a medium.”

This post doesn’t fall into that analysis as Graffoto prides itself on being large, not medium.

CEPT - Cosmic Interceptor

2010-08-16T12:39:00.008+01:00

London Aug 2010

Graffoto had the pleasure of a morning with Cept as he freestyled a London shutter writing CEPT with an awesome intergalactic prespective buggering fill. Look too closely at the end result and you'll feel like you are about to fall into deep space.

Check the movie, in particular see some impressive backwards tagging at the end. Smoke a banana while you watch it.

Cosmic Interceptor from NoLionsInEngland on Vimeo.

check here some of the awesome CEPT work Graffoto has covered in the past and as anything Cept touches may involve warping time and space, depending when you click this link we might throw in some future work too.

Graffoto Blog

Graffoto Round Up of the Year - Part 4

Graffoto Round Up Of The Year - Pt 3

Graffoto Round Up of the Year - Part 2

Graffoto Round Up of the Year - Part 1

Felice Varini – Cardiff Bay

Banksy Loves Liverpool

Evol @ Smithfield Market

Os Gemeos Found Un-Harmed

Adam Neate - Dimensional Paintings

k-Guy & Occupy vs Greedy Bankers

Something Interesting About Banksy, Really!

Saki And Bitches - Tokyo Lady Chatterely

Ludo - Metamorphosis

Graffiti 365 - Jay "J.Son" Edlin (et al)

God Help Us - It's Ronzo

Time Bomb

Curly – Sticking It Up ‘em

Gocco Printing - Malarky at High Roller Society

New Ron English/NoLionsInEngland Collab Revealed

Day Off Urbexing

Street Artist Servants Express Gratitude For Long Weekend

Sweet Toof And Paul Insect, London, 2011

Mike Ballard -The Ultra Nomadic Def Smith Cycle

Skewville - Slow Your Roll

Brian Adam Douglas - Due Date

Black/Light - Roa, Phlegm, Robots

Space Invader Chequered Past

Hastings & St Leonards Moth Project

Banksy Locations (and a Tour) Vol II

Dale ‘vn’ Marshall’s Room 101 revisited

F*** the F***ing F***ers - FREE 10FOOT

Mantis - Altered State

Swoon Scene in London

Cept, Sweet Toof - Backyard Colouring

Underbelly Project - NY subway art

Moniker Art Fair, Adam Neate, Frieze

Hell's Half Acre - Lazarides Group show

Mike Ballard - Whose Coat Is That Jacket You're Wearing

we are merely vermin

Papal Bull

Poster Boy In London

CEPT - Cosmic Interceptor

F* the F*ing F***ers - FREE 10FOOT