CCA is delighted to offer three new silkscreen edition by contemporary British artist Emma Talbot.
The editions were printed at and published by Coriander Studio.
A Walled Garden (Bronze) A Walled Garden (Red) A Walled Garden (Orange)
We interviewed Emma to find out more about her life and work:
- 'A Walled Garden' has three colour variations (each an edition of 50), is the ability to vary colour and create alternatives the reason you chose to make them as prints?
ET-Yes, I was keen to make use of the possibilities print offers that other media don't, so the idea of different colour options was really exciting. I also like the qualities of the ink used for screen prints and it was great to include iridescent, luminous and pearlised colour.
- How important is printmaking to you?
ET- I find the processes of printmaking really suitable for my work. The different qualities that can be achieved add a great deal of interest for me, in terms of how my images are realised. Printmaking offers so many possibilities and variations, it has opened my work up even further.
- Pattern is a central feature of these works- in this case of foliage and flora that relates to the text- where did that idea come from?
ET- I've been looking a lot at pattern in textiles and Persian carpets and the meanings attached to the motifs. In particular, I was interested in images of the tree of life and walled gardens. I like the way image and pattern are combined and references they have to life experience, growing, developing and changing. I drew the pattern out by hand from looking a very old Indian woodblock print, (adding the colour separation) and then repeated it as a complex background - like something growing wildly.
-Your figures are often featureless, what is the significance of that?
ET- I'm often trying to capture the way I think visually, remembering scenes and scenarios I have actually experienced or imagined (in ideation based on reading or anecdote or by dreaming). Often, in the mind's eye, the features of the figure are far less important than gesture or details of place and setting and so this is what I concentrate on.
The scenarios I depict are not exclusively unique to me, they are part of the contemporary experience of being alive. I like the idea that the figures, being faceless, could be anyone, like a well known role which is played by different actors. When we speak of our private lives, we often find a common understanding and I like the fact that something personal can become more universal and easily read by others.
-Is a story being told in 'A Walled Garden'?
ET- I was thinking about an Indian miniature I'd seen with the image of a woman longing for her lover. There is never a linear story in the work, but there is a narrative idea, about the way we open up when we're in love. There's a psychological reference that walls can be broken down, things grow.
- Text features in these pieces and your work generally, could you tell us a little about the appeal of merging word and image?
ET- There is little difference between writing and making images for me, both convey messages and ideas. The text is painted just as much as the words and I like to combine both without a sense of hierarchy.
- Do you use your own words or quotes?
ET- Both - my work is a space where all different things can come together, my own voice and my voice reading others.
- How would you sum up what you are trying to achieve as an artist?
ET-I'm trying to articulate what it's like to be me, alive today. I'm trying to capture the kinds of thoughts that are in my head.
(see the first part of the answer about featureless faces above)
- What do you take inspiration from?
ET- Japanese Prints, Indian and Persian miniatures, Textiles, handcrafts, woven carpets, song lyrics and writers such as Helene Cixous, Anais Nin, Paul Ricoeur and Pablo Neruda.
-Which artists do you most admire?
ET- Sassetta, Thomas Hirschhorn, Harun Farocki, Henri Rousseau, Louise Bourgeois
- Did you always want to be an artist?
ET- Yes, always
CCA Galleries is delighted to publish original limited edition print by Edy Ferguson. We caught up with Edy at Worton Hall Studios (where all our prints are made, and where Edy has a personal studio space) to ask her about her life and work:
-Have you always wanted to be an artist?
EF- I don't think I ever 'wanted' to be an artist. I always knew I would be an artist so I was always very curious about other vocations, other studies. I really wanted to get a liberal arts degree, but I was offered a very substantial merit-based art scholarship to attend an art school within a university. So I took as many side classes as I could, because I really wanted a rich base to work from. This idea continues today; I do a lot of research for my work. I have a twin brother and we both drew from a young age. My parents' house is filled with traditional landscape and still life oil paintings that we made from the age of 12. We also painted outdoors, making landscapes in watercolour. During High School we attended the Art Institute of Chicago for drawing, painting and printmaking. We had full scholarships and could attend as many classes as we wanted for free.
- How would you describe your work?
EF- My work doesn't fit in any neat contemporary category or genre. But I think there is a lot of violence and architecture happening in it. I'm constantly reconciling these two things. Either the violence is trying to get outside of the architecture, or the architecture is trying to contain the violence. But the two can never separate. My work is a strange combination of modernism and pop. In other words any kind of content is fair game. . . no matter how twisted. . . . but at the end of the day I do believe in balance and unity, not necessarily beauty but some kind of transcendence.
-What are you first visual memories?
EF- The crank for the pedals spinning on my Mom's bicycle as she rode me around the neighbourhood. Visually it would have made a perfect [Michael] Craig-Martin and I totally understand and relate to all his work.
- You are from the US originally, have travelled widely and are currently based in London- are you enjoying being here?
EF- London is a blast, it's irreverent and very proper and civilised all at the same time. There is a great energy here. It's also nice having lots of foliage around and plenty of spaces to explore. And then there's this wonderful art of conversation. . .there is a social network here that is lacking in the States. I've lived in several different countries, and really London has the most to offer. I'm really happy here.
-Why is printmaking important to you?
EF- I like the idea of duplication. I often find iconic images from history that stand for so much. . . it would be a shame to only have one example of it. For instance many people are drawn to my Valentino collage. But I just couldn't let that go. I really don't think I should sell any of my collages, as they are only studies that I could and should reproduce in different mediums. So making an edition of these things is a much better idea. They are cultural hallmarks that mean so much to so many people. It's not about me, it's about our cultural collective consciousness. It's often an homage to someone I really admire, and I don't think any one person should own that. They made a difference in so many lives, not just my own.
- Describe making a print at Warton Hall Studios.
EF- It seems to be a real collective- everyone has a voice in what to decide to print and how to get the best result, and they all know the craft so well. They are great to work with and make everything clear to me . . .and it's great to have their feedback because I'm too close to the work and I need to know what other people see. After coming to a decision on a few collages, the image is rebuilt onto a computer file and printed out to size so that I can judge where the hand-painting needs to happen. I paint onto transparencies that are then photographed and made into silkscreens. Then the print is put together step by step and I love to see it come together this way. I also get loads of ideas of seeing from seeing it in unfinished stages. I would like to play more with this process and leave it open-ended for change. But changes happen anyway and the finished product is rich because it simply is a product of so many circumstances. Printmaking is a fascinating and beautiful synthesis of hand and machine. I've always been looking for a way to create a seamless marriage between painting and photography and silkscreen is a great way to do it.
-What is an average day in the life of Edy Ferguson?
EF- I meditate when I wake up. If I have administrative stuff to do I like to get it out of the way in the morning, but if it takes too long I get impatient to leave for the studio. I have to leave the house at some point mid-morning and burn off some energy before I can settle down to work. I'm always drawn to the studio, as it is an oasis of peace in my life. It begins with a kind of stage fright but once I've started I can't let it go until a transformation occurs. This process is intriguing and incredibly irritating at the same time. For me painting is an intensity of focus that is hard to sustain for more than 3 or 4 hours. Then I have 40 brushes that must be absolutely clean before I leave. The longer I stay in the studio, the better I feel. I like to work on several projects at once and drawing is especially important to me. The more projects I have one the go at once, and the more media I have to work with, the happier I am. But I'm especially addicted to painting. It really does have it all.
Afterwards I try to go out at much as possible; exhibitions, openings, social events, I'm always looking for an adventure but I don't like to show up for the studio feeling tired. I'm quite happy to stay home too. I read quite a bit and I love to see movies and documentaries. I'm always looking for inspiration in everything I do and people I meet. I think it's important to experience things deeply, whether in work or play. But everything I do is tied to my work in some way.
-Popular culture is often at the centre of your work- why?
EF- I'm a visual person, so the images I see as I go through the city affect me. I look at advertising in the same way as I look at art. Anything presented is up for grabs. So I see the advertising landscape as a good barometer of how sensitive our culture is. What we see on the walls of the Tube is who we really are. Economic factors are incredibly important in the creation of culture. The present needs our attention and this is our anthropology- our 'real' culture that the historians will be talking about 50 years later, so we better look at it. I want to make art about our daily lives and how we feel and how we live. I want to be very specific about that.
- What is your favourite work of art?
EF- My favourite works of art are the ones that affect me the most powerfully on an emotional level. The biggest reaction I ever had in front of a work of art was Michelangelo's David in Florence. That was a big surprise to me, because one sees so many pictures of it, you think it will be familiar yet the experience of it 'live' offers a world more. You really can't experience art through a photograph. I would have to add the Rolling Stones concert in Hyde Park is up there too. . . I was in the front row and it was so powerful. So much energy. You can't capture that in a video or a photograph. That was art too. as a performance.
- What is your favourite exhibition space?
EF- Foundation Beyeler near Basel, Switzerland. I also like White Cube in Bermondsey because it is so big. Art needs a lot of space around it, I think.
- Which artists have had the most influence upon you?
EF- Andy Warhol. Joseph Beuys, Jean Michael Basquiat, Wilhelm De Kooning, Alexander Calder, Anthony Caro. I love Joan Miro as well. Vermeer. . .Van Gogh. Finally William Eggleston and Saul Leiter, both colour photographers, I'm addicted to making photographs too.
- Which book would you take to a desert island?
EF- The Odyssey. I read in once on a Greek island, and the wildlife around me seemed to come alive and play various characters pertaining to my life and the book. It's a highly interactive narrative, and I'm sure if I had read it over and over again, I would never tire of the phrase 'rosy finger-tips of dawn' at the break of each day.
- What talent would you most like to possess?
EF- The ability to convince people to give me large amounts of money to make great things.
-Which historical figure do you most identify with?
EF- The David again.
- How would you like people to view your work in the future?
EF- If I do my job right then the work will be a living entity with incredible amounts of energy flowing through it. Which is all that really matters. We all have a story and it gives us something to talk about, but what matters most is how we tell it. Like DeKooning, all his work just emanates rays of pure love. I'm not being sentimental here, it's just palpable. When I dig up old work, it's like seeing an old friend- 'Hey how are you doing? Good to see you!. . . been a long time. You've aged incredibly well. More beautiful than I last saw you. . .' It's not what you make, but the intensity of feeling that goes into it. This feeling that betrays a care for humanity- your audience- that makes you work. What is that? It's just love. Incredible, persistent genorousity, without experiencing anything back.
- Thanks Edy.
Sleeping Beauty (Kate with Pines) and Valentino Yellow are available to order from CCA Galleries now. Edy Ferguson's new works will be shown at MULTIPLIED print fair October 16-18th October, Christie's South Kensington.
CCA Galleries has been delighted to publish limited edition silkscreens by acclaimed British artist Dan Baldwin for several years, this autumn he followed his highly successful solo exhibition in London in 2013 with a show in New York, Clare Clinton caught up with him to find out all about it,
CC: You had an amazingly successful solo show in London last year, how did NY compare?
DB: It was amazing, first trip, first solo show, the buzz of being in such a great venue in the meatpacking district and the response from people was so positive, it changed a lot for me mentally this trip.
CC: Why NY? Do you have a connection to or particular affinity with that city?
DB: I was introduced to a foundry in Athens by Stavros Kotsireas, a Greek artist I know, he asked whether I wanted to make a sculpture. My response was that I have always made sculpture in the sense of putting mixed media objects together, but not actual traditional sculpture like bronze. I decided to send them the figure of a girl I had made for a show in 2008 (where she was placed in the gallery in this peep hole cupboard, after the show she went into the window of the fashion boutique owner Brix Smith Start- from the band The Fall- for a Halloween installation, then she sat in my garden rotting away for five years or more). I tweaked her; pulled her mask back and added bits to her as an experiment in lost-wax casting. I was amazed by what came back from the foundry. I then made four more smaller pieces for the NY show. I feel that my practice has grown a lot now, as every show will have bronze, painting, works on paper and ceramics. NYC was really the testing ground for the bronzes, and the response was very positive.
DB: 37 pieces in all- I use acrylic rather than oil on canvas (I'm too impatient!), acrylic is my new favourite medium on un-primed linen, and primed canvas, and wood. There's also a hand-made terracotta tile painting with 3d cast objects and metals (which is like a logical halfway extension between a pot and a canvas). The paintings that got the most response were the 'Subvert' series- they are more simplistic and a new direction for me. The giant pots had big impact, and the bronze mouse stole the show (selling 6) and the big bronze got major attention. . .I was pleased with every piece, also the works on paper did well, as they have a looseness and un-preciousness about them.
CC: There was great press coverage of the show with emphasis on celebrity visitors- could you tell us a bit about a few exciting people who swung by?
DB: Daphne Guinness, she's an amazing character-very eccentric and charming. Alison Mosshart, very cool front woman of the band the Kills, Max Lousada- chairman of the Brit Awards and Warner UK (he is the reason Paolo Nutini saw my art). Art dealer Patrick Fox, who worked with Keith Haring and Basquiat,
heavyweight pro fighter and undefeated champ Bryant Jennings, and many more great people. .
DB: I sadly didn't attend but my pot raised $20,000 and was in the live auction with only 9 others, all major names as you mention below - I've supported the Teenage Cancer Trust three years now through the Groucho Club. .
DB: Not really, as I haven't reached the places that they have, like the galleries they work with, but it’s all moving in the right direction, always forwards, that's the main thing. It was a real honour to be included in that line up and it all counts for something, to be in the room with those people i look up to, and last year Jake Chapman bought one of my pots, which was a real compliment as I'm a big fan of the Chapman Brothers.
CC: What's next for you?
DB: A very busy year in 2015 planned with CCA galleries arranging solo shows of my prints across the UK, one in January at GX gallery (Denmark Hill, London), others in Padstow, Salcombe & Jersey. . .some pot commissions, including the largest we have ever made. There may potentially be a solo show in London, in discussion, for the end of the year, as it will have been two years since my last one, a new scarf launching with www.thisisalimitededition.com , moving house and studio to relocate to Norfolk.
DB: There are three potential new editions being discussed at the moment. They are all from the NY show and represent quite a change in my work from my recent prints, they are Anomie (Fear of the Dark), Rejection from a Fool is Cruel and The Flood. Watch this space. . .
CCA is delighted to present the newest print edition from JOE WEBB: Antares & Love X.
'Antares & Love X is a progression from a series of collages I’ve made over the last few years. I wanted to explore further the themes of romance and nostalgia these images evoke, and what happens when elements of them are manipulated with a scalpel. Removing a figure and revealing the space underneath creates a mysterious playfulness, which I'm inviting the viewer to decipher. I was interested in the the way they are gazing into the heavens and at the same time are being absorbed by it. It has a visual narrative which is something I try to weave into all of my collages. There's also a sense of hope embedded into the image somehow. '
Webb has also recently collaborated with The Madden Brothers (originally from the band Good Charlotte) to create the cover art for their album 'Greetings from California'. We asked him about working on the project,
- Have you collaborated with musicians/done any album artwork before?
JW- No, I’ve had a few requests from but was waiting for an album I really liked and that was going to be released internationally. It’s already made number 1 in the charts in Australia so am really happy I held out. Once you let a band use an artwork that’s it, it can’t be used again ever, so it has to be the right artist.
-How did you come to work with The Madden brothers?
JW- They contacted me after seeing an interview with me in Fault magazine. They were doing an interview with the same magazine. They’d been looking for artwork for ages apparently, but weren’t happy with what they had so far. They felt my artworks was a perfect fit to their music. All of a sudden I found myself meeting up with the guys in London and that was it!
-Is music an area with which you feel an affinity as an artist? Is it important to your work?
JW- I’m a musician myself and used to play in bands a few years ago so definitely yes. I also used to sample unsusual pieces of music from vinyl and remix old obscure records, like an aural version of my collages really. I was always a massive fan of Storm Thorgerson and Peter Blake amongst the many other artists who made classic album covers. I like the way a piece of artwork can be tailored towards a body of music. Record sleeves are perfect little canvases to reach a larger audience on. I used to buy albums based on the album cover quite often…the cover is an important part of the whole package of an album.
-Is the image on the cover a special commission or did they pick something from your existing work?
JW- It was an existing piece. We tried lots of other ideas but kept coming back to this one. They guys wanted something iconic for the cover and felt this image encapsulated the feel of the album perfectly.
-Tell us about the image
JW- I guess it’s quite an uplifting optimistic image…It’s conveying the idea of taking on the world, jumping in with gusto, having no fear and seeing what happens.
Greetings from California is out Sept. 16th on Capitol records.
See Joe Webb's latest work at Multiplied art fair October 17-20 October at Christie's, South Kensington.
This year CCA artist Lucy Farley has been selected to exhibit 'Golden Valleys, Gloucestershire' at the Royal Academy's Summer Exhibition. Clare Clinton caught up with Lucy to find out more about being part of this prestigious and unique event.
CC: What does it mean to you to have a piece selected for the RA Summer exhibition?
LF: Each year I feel very lucky to be included in the summer show, having been at the RA completing my fellowship, I have been around when the buzz of the selection process is taking place upstairs and I know how competitive it can be.
At the Royal college I was taught printmaking by Chris Orr RA and Eileen Cooper RA and they always encouraged us as students to enter works that demonstrated the best of our printmaking abilities/ personal style and have our work seen by a wider audience.
The show attracts around 150,000 visitors and I really value the individual, personal response to my work. I am now in touch with a loyal group of people who have been coming and buying each year and follow my progress. You must, as an artist have your work seen as much as possible so you can investigate that interaction further and hope that what you are communicating touches people- this makes the lonely studio days worthwhile!
There is a lovely quote by David Smith, the American post-war Sculptor who inspires my drawing- ' The point at which my sculpture 'meets' the world is when it is complete'
CC: Tell us about the piece you are exhibiting.
LF: 'The Golden Valleys in Gloucestershire'. The image came from many drawings of the same place in Chalford Valley (near Stroud), along the canal. I love to interpret a particular spirit and visual deconstruction of place, which has meaning to me and through editing, re-introduce it to a public audience.
American painter Richard Diebenkorn who inspired this piece, had a way of obsessively painting the same streets and valleys in Ocean Park in California and somehow his angle on these familiar streets starts to draw attention to aspects that would otherwise go unnoticed. This is the point at which, when viewed within the new context the artist has placed them, objects and places become symbolic and command fresh enquiry from the viewer.
I grind the lime stones by hand upon which this Lithograph was drawn, and drawing on this three dimensional object makes the whole process very tactile and sculptural. There is more sensitivity with Stone lithography but it is becoming rare these days as Zinc plates and photographic litho have taken the place of stones and enable mass production.
I always hand colour my work using a variety of media, so as a result each one is unique.
CC: How does the selection process work?
LF: The selection process takes place over three stages- the first is a submission of the image, if this is successful then you are asked to deliver the picture in person and the final stages are the hang. A work can still be under consideration once it's hung and sometimes taken down and rejected at this final stage.
CC: As a fellow at the RA you obviously have strong ties to the institution, do you feel that it's relevant and accessible for young people and young artists?
LF: I think young people and artists should enter work every year as the benefits of being seen are fantastic.
As well as sales, you receive a great deal of enquiries about your work in general and I have had other shows happen because of this. There are many hidden gems at the RA to make the most of- the prints and drawings archive (which is open by appointment for public viewing) is truly inspiring, I discovered whilst doing my fellowship, that so many of the works by British artists I have looked at over the years are in the collection and for printmaking purposes it makes a huge difference to see these techniques on paper up close.
It is also worthwhile to keep an eye on the smaller shows in the Sackler wings which often get overshadowed by the blockbuster shows in the main galleries- I'm particularly looking forward to the 'Modern Art of South America' opening on 5th July and Allen Jones RA in Burlington Gardens on 13th November.
CC: What are you working on at the moment?
LF: In the studio at the moment,I have just finished a series of monoprints made at a Barcelona print residency which are based on Carribbean seascapes and wildlife I experienced by boat. My Father crossed the Atlanic and I was able to join him at the finish and bring my art equipment. The next project I'm looking forward to starts this weekend, when I travel to Jersey to make work in response to the coastline and history of the Island.
This will result in a show in the Autumn at CCA Galleries International in St. Helier, which will include paintings, watercolours, prints and new ceramic painted reliefs which I haven't shown before.
The RA Summer Exhibition runs until 17th August. For more information please visit www.royalacademy.org.uk
CCA Galleries is delighted to present a new edition by Peter Blake: USA Series.
Following from the success of 2013’s Wooden Puzzle Series Peter Blake takes the USA as the inspiration for his latest series of collage-based works. Creating pop art compositions from his own eclectic collection of Americana Blake explores a nostalgic world of movie stars, childhood games, sports and everyday objects. Through the use of collaged elements, embossing, glazes and glitter Blake gives this series a tangibility and depth that is akin to the original materials. The series has been made into two editions, with a smaller edition of 25 using 3D printing technology.
Blake uses a diverse range of source materials including currency, cartoon figures, lettering, matchboxes, movie stills and bus tickets to create a vision of what the USA means to him.
Using the bold colour blocks and geometric shapes most associated with his pop art work, Blake balances everyday objects including a knife, an airline label, matchboxes, a sports card of boxer Sam McVey, and children’s playthings such as spelling blocks and toy soldiers around the iconic star spangled banner.
Blake creates a richly tactile surface through the juxtaposition of natural materials such as shells, pebbles and wood with man-made elements like porcelain fragments, coins and plastic. Using finishing techniques including silver leaf and glazes Blake seeks to mimic the original materials as closely as possible.
James Dean, a vintage postcard of Florida oranges, textile patches, children’s board games and a silver dollar feature in the fourth USA collage.
At the centre of the image is a metallic plaque of New York City with an eclectic array of objects and imagery surrounding it from advertisements to postcards and games.
Each print is available to purchase individually or as a boxed set portfolio of all five.
Watch this space for details of the forthcoming 'USA Series-3D' a small edition of 25 made using 3D printing technology.
PETER BLAKE: POP VICTORIANA
Exhibition at Watts Gallery 7th June- 31st August 2014
Watts Gallery in partnership with CCA Galleries are delighted to announce Peter Blake: Pop Victoriana an exhibition of original limited edition prints by this renowned British contemporary artist.
Famous as the ‘godfather of British pop art’ Peter Blake is fascinated by Victoriana; an interest that has surfaced in his work throughout his career. The exhibition will include a cross-section of the artist’s print editions from the rare Through the Looking Glass series of 1970 to the iconic album cover artwork for Band Aid (2005) and his latest ‘found art’ pieces such as To a Darling Child (2013). These works all reflect Blake’s focus on nostalgia as a key tenet of pop art, as well as his desire to explore mass culture from an intrinsically British perspective. Whilst Blake’s work is concerned with addressing the issues of its day, it is also full of backward glances both to his own personal history and to Victorian aesthetic and social culture.
The work reflects his fascination with all streams of popular culture, and the beauty to be found in everyday objects and surroundings. His interest in popular leisure activities and commercial art naturally traces back to the nineteenth century when such concepts started becoming relevant to an emerging middle and working class. Many pieces feature found printed materials such as photographs, comic strips or advertising texts. He takes much inspiration from his own collection of objects and printed materials acquired over a lifetime and stored in his studio, which includes Victoriana such as postcards, magazines, advertisements, toys, fairground and circus art, animals from taxidermist Walter Potter’s collection, illustrated reference books and much more. There is a strain of sentimentality and nostalgia running throughout his work, with particular focus towards childhood innocence and reminiscence that taps in to a certain type of Victorian sentimentality.
Printmaking has been central to Peter Blake’s career; both in reinforcing his belief that art should be accessible, affordable and as democratic as possible, and also allowing him to experiment with new techniques, pushing the boundaries of his work. Pop Victoriana will showcase the variety and longevity of his printmaking career featuring media ranging from silkscreen to digital, and method ranging from the centuries-old to the latest computer technology. This desire to use new techniques, to learn and to experiment id what keeps the artist’s work so fresh into his 80s,
‘I started to be an artist at the age of 14, so it’s been 66+ years as a student and then artist, so it’s become a long career. And it’s had its high points, and it’s had its bad points. I think most of my ambitions have been achieved. Most of the things I’ve wanted to do strangely I’ve done. I’m delighted to have a show at the Watts gallery, I was lucky enough to have been here a few years ago and see GF Watts’ own collection of photographs and postcards as well as admire the marvellous restoration of the gallery.’
Blake became interested in English folk art and Victorian painters whilst studying at the Royal College in the early 1950s. Later on in his career he was a founding member of the Brotherhood of Ruralists; a group of artists who had turned their backs on city living and moved to the west country, and whose name as well as their aims bore an obvious affinity with the Pre-Raphaelite Brotherhood from a century earlier. Their aims were ‘the continuation of a certain kind of English painting; we admire Samuel Palmer, Stanley Spencer, Thomas Hardy, Elgar, cricket, English landscape, the Pre-Raphaelites, etc.’. His knowledge of folk art and homage to artistic predecessors had always been a distinguishing characteristic of his pop art in comparison to his peers, and the ruralist phase in his career marked a decisive break from bold geometric urban pop art into an exploration of nature, literature and fantasy. During this period Blake depicted Shakespearean subjects (as GF Watts had done before him) and well as children’s literature including Lewis Carroll’s ‘Alice’s Adventures in Wonderland’.
Pop Victoriana is a welcome return to Watts Gallery for Blake (as well as the Art Bus), whose love of Victorian fairy painting resulted in him judging wands and wings created by children for the Fairy Fair held at the gallery in 2010. The CCA Art Bus- a mobile art gallery designed by Sir Peter- will be visiting on the evening of 25th July and exhibiting further work by the artist on its top deck. It also marks a local collaboration between the gallery and Tilford-based firm CCA Galleries leading publisher and gallery for British original contemporary prints.
For more information on Peter Blake: Pop Victoriana please visit www.wattsgallery.org.uk or for further information about Peter Blake’s limited edition prints contact CCA Galleries on 01252 797201 or visit www.ccagalleries.com
To coincide with the exhibition at Watts Gallery Wey Gallery in Godalming are showing an exhibition of Blake's pop art prints. for more information please visit www.theweygallery.com
Did you know that as well as publishing new silkscreen and digital editions by established and emerging contemporary artists CCA Galleries has an archive of past publications by artists including Sandra Blow, John Hoyland, Terry Frost, John Piper, Patrick Hughes, Kathleen Caddick, Richard Tuff, Ken Howard, Terence Millington and many more.
A few highlights from the CCA Archive:
Sandra Blow RA (1925-2006) was one of the leading lights of the abstract art movement of the 1950s. Her works are often on a large scale and consist of abstract collages made up from cheap discarded materials such as sawdust, cut-out strips of old canvas, plaster and torn paper. The use of such materials is designed to create an expressive informality and promote a natural, organic feeling. Her works have a tactile as well as visual emphasis on surface, and her use of simple large geometric shapes lends a feeling of expansiveness and dynamism.
Sir Terry Frost RA (1915-2003) was a giant of British abstract Art. Born in Leamington Spa in 1915, Frost left school at the age of 14 and worked at Curry's Cycle shop and then Armstrong Whitworth in Coventry until the outbreak of war. He served in countries as diverse as Palestine and Greece, before being captured in 1941. Frost remained a prisoner until the end of the war, an experience that changed his outlook on life and introduced him to the possibilities of art. In prison camp in Bavaria Frost began to paint and draw, encouraged by young artist and fellow prisoner Adrian Heath.
Frost's work reflects his gratitude and joie de vivre at having survived wartime incarceration; it is full of colour, light and the pleasure of existence 'a sense of delight in front of nature'. Frost took his inspiration from nature; the sun, moon, water, boats and the female form are recurring motifs abstracted into sensuous circles and curves. These shapes are often coloured in dramatic blues, reds, oranges, yellows and blacks. Frost believed that the interplay of colour and shape could realise an event or image more successfully than imitation. He combined strict formal discipline with great expressive freedom and a natural sureness of touch.
Born in 1939 Patrick Hughes had no formal art education and was largely self-taught. He became fascinated by paradoxes and visual trickery at a young age. From 1964 to 1969 he was Senior Lecturer in Painting and Drawing at Leeds. His first solo show was at the Portal Gallery in London in 1961. He has held several one-man shows particularly at the Angela Flowers Gallery and has participated in various group exhibitions in the UK and Europe. His work is in several private and public collections including the British Council, the Victoria & Albert Museum and the Print Collection at the Tate Gallery. In 1979 he won first prize at the Tolly Cobbold/Eastern Art National Exhibitions. His first one-man exhibition in New York was held at the Edward Weston Gallery in Soho in 1983. Hughes' surrealistic leanings have been influenced by artists such as Paul Klee, Marcel Duchamp and Rene Magritte.
John Piper’s (1903-1992) career in art spanned over sixty years and has incorporated a huge range of artistic media including printmaking, painting, drawing and illustration, photography, stained glass, fabric design, murals, stage sets and costume design. However, Piper is most well known for his prints and paintings of the romantic heritage of Britain; his explorations of rural Britain throughout his life (a passion that started with bicycle adventures in his native Surrey as a boy) have much influence on his paintings. Piper developed a fascination with vernacular and ecclesiastical architecture. In his prints, his subject matter was predominately architectural; often abbeys, churches, houses, castles, cottages or details of architectural design . His style comes both from his English heritage and his commitment to the emergent modern and abstract movements that were developing as he left art school. Dramatic, romantic combinations of colour, calligraphic line and experimental textures are the tenets of his oeuvre.
Ken Howard RA is undoubtedly one of the most acclaimed artists of his generation with a successful career spanning more than 50 years. Ken was born in North London in 1932 and studied at the Royal College of Art . After several years teaching he decided to dedicate himself to painting full time. He now divides his time between his studios in Cornwall and London. He has earned numerous awards and appointments for his work. He is renowned for his preoccupation with the effect of light upon the subject such skills were handed down from such artists as Monet Whistler and Sargent. A constant source of inspiration is the human figure Ken is fascinated with the relationship between the figure and the space surrounding. Ken Howard has established a reputation as one of the most accomplished figurative artists of his generation. He is renowned for his remarkable draughtsmanship. Ken Howard is a member of the Royal Academy Royal Watercolour Society Royal West of England Academy and the new English Art Club. From these Ken has had a number of sell out exhibitions.
Terence was born in Birmingham in 1942. He studied painting at the Birmingham College of Art before moving to Manchester to attend a printmaking course. Since then Terence has taught at many art colleges around England. He has a long established reputation as an accomplished etcher and printmaker and has been regularly published by CCA Galleries since the mid Seventies. His painting and prints have been exhibited across the UK and overseas. His work is also included in public and private collections worldwide notably the Arts Council of Great Britain Tate Gallery and Victoria and Albert Museum. Terence's favoured subject matters are landscape and still life. His work often follow a theme where one subject can hold so many different images for him that he will create a series of paintings or prints. Although working in the European still life tradition Terence does not set about imposing his specific artistic style upon his subjects. Each object has its own innate character and his skill is in identifying and expressing it independently. The result as always is a highly individual and jewel-like image.
CCA Galleries is delighted to announce a special exhibition of original collages by Joe Webb at Art 14 (London Olympia 28th Feb- 2nd March).
Joe Webb (1976-) worked for many years on computers as a commercial artist and designer before deciding to return to fine art...his artworks are strictly hand made and 'analogue' after growing tired of the unlimited options of Photoshop, he wanted to get back to a more simple way of working. Recently Webb has worked with CCA Galleries at Coriander Studio to make limited edition silkscreens, but at Art14 we are delighted to present a collection of his original collage work. Webb’s collages explore a range of ideas from the political to surreal, each piece carries a visual message to be deciphered by the viewer. The artist often displaces the central figure or object into an unusual setting, holding a mirror up to conflicting cultures and experiences.
Antares & Love X On a Platter Small Steps
"I started making these simple hand-made collages as a sort of luddite reaction to working on computers for many years. I like the limitations of collage...using found imagery and a pair of scissors, there are no Photoshop options to resize, adjust colours or undo. My collages work to a basic rule of sourcing just two or three images... I then present them as a reinvented single image to communicate a new message or idea. I suppose I'm fairly anti-technology although I now promote my art on websites, own an iPhone and use Facebook...I wish I had been born 100 years ago.
At the Gallery Super Conductor
Collage has a long running tradition of political satire, sourcing material from the mass media and manipulating it to explore topical issues of the day. My recent artworks pick up this baton and attempt to run with it - observing worldwide, economical, social and environmental dilemmas…as well as contemplating our place in the world and beyond, far off into the cosmos.
The core of the work appropriates ideologic imagery of 1950s home and garden magazines, juxtaposed with conflicting and alternative ideas, reinventing the scene and weaving narratives within. The messages embedded into the artworks are not intended to take a higher moral position, but aim to reflect on and to consider the world we live in. The high impact graphic nature of collage helps me communicate these ideas directly with immediacy, as the old cliché goes, 'A picture is worth a thousand words'. In a time of the remix, bootleg and mash up, collage seems to have become a more relevant medium than ever before."
The Cloud Eaters Voodoo Child
Art14 taking place at Olympia, London from 29th February-2nd March. Come and see us on STAND M4.
We will be exhibiting work by artists including Peter Blake, Dan Baldwin, Joe Webb, Bruce McLean, Barbara Rae, Lucy Farley and Henry Hudson.
CCA's Dan Baldwin's print 'Cyclone' is being used as the cover art for Paolo Nutini's new single 'Scream'. This is not the first time that Baldwin has collaborated with musicians, most recently he worked in partnership with Alison Mosshart of The Kills to create the imagery of 'This is the Big City Baby', in 1996 he created almum artwork for The Levellers, in 2007 for Dylan Donkin and in 2011 for Kill Keneda. Baldwin's training in illustrative art as a student created a respect for and a desire to create commercial art. I caught up with him to find out more.
CC: How did the use of your art for the 'Scream' cover come about?
DB: Unbeknownst to me the Head of Atlantic Records in London, his wife bought him one of my paintings back in 2006. He has one of my 'Cyclone' prints in his office. Paolo saw it there and loved it, he felt it was perfect for his new album cover 'Caustic Love'. We didn't know much about each other; I had only heard a few of his songs. Before we met in December I bought his two albums and played them solidly in the studio for two weeks. . . they are excellent, he really is a great songwriter and musician.
CC: How did the process of deciding how to use the image work?
DB: In the end we changed it to the single cover- though excerpts from 'Cyclone' may be used for several of the singles from the album, with different parts of the image used each time. So the image is cropped, focussing on about a quarter of the original 'Cyclone' image. In that one quarter is love, pain, religion, conflict- and even a Scottish thistle. I was very open to however they wanted to use my image; their ideas allowed me to see my own work in a new light. I really like the simplicity of the end result and enjoyed working in a collaborative way.
CC: What else is on your agenda at the moment?
DB: I am currently working on my new collection to be shown in New York in December, the working title for the show is The Innocent.
CC: Best of luck with that, really looking forward to seeing the new work.
An overview of Baldwin's career with over 100 images and exclusive interview is now available from ccagalleries.com: DAN BALDWIN 23 YEARS.