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Religionis Violenta Exhibition | 06 - 11 September 2012 | London West Bank Gallery


‘RELIGIONIS VIOLENTA’ “Those who believe in absurdities end up committing atrocities” [Voltaire, 1694-1778] Religionis Violenta is taken from the Latin meaning for violent religion. The concept of the show initially emerged as a spontaneous reaction to the popular catchphrase; ‘where’s your GOD now?’ and the many conflicts that occur in the name of religion in a historical context and focuses mainly towards the Catholic faith. Religionis Violenta showcases artwork by 31 artists, reflecting on violent acts done in the name of religion and focusing on dark humour, irony and obscenity, revealing the artists’ taste for a bittersweet use of blasphemy, a snigger at and caustic provocation, including; paintings, drawings, limited edition prints, artistic photography, inventive mixed media, neon art, sculptures and decorative art. However outrageous the theme may be, the exhibition doesn’t simply rely on shock tactics to bring the show to life, but that the quality of the artwork showcased is paramount and with the London West Bank Gallery transformed into a place of irony, contemplation and judgment, all the senses are stimulated not only through vision, but also through sound, smell and touch! The Biscuit Crew Kane & Gonny’s Biscuit Projects | London

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Bart’s paintings and installations are mostly about the by-product of human activity and our race for technological progress in combination with the errors that surround progress. His paintings of late point to old masters like Velazques, Manet and Ingres. Adding objects like machinery and modern tools to the classical images, sometimes honouring the original composition. In these works, modern society gets introduced within our cultural heritage, which results in new images and stories.

Rex Propria Manu Operandi Part II: Christ Pneumatique 2010 W.130.5 x H.90cm Oil on canvas


The Three Wise Men - Melchior 2012 W.27.5 x H.35cm Collage paper

The Three Wise Men - Gaspar 2012 W.27 x H.32cm Collage paper

A great sense of curiosity takes Beatriz forward in Collage. Striving for the unknown of how images find each other, after being released in different times and ages, places and moments with different reasons for existence. She found in the process of creating a collage the same rules that exist in any love relationship, the looking and searching, the meeting and connection and then the awaiting workability or compatibility.


OMG (is Better than yours) was a reaction to the 9/11 atrocities. As Ben watched it live, the second Tower went down he noticed a swirl of smoke just for a second that resembled a face, it reminded him of the Turin Shroud. All you could hear were Americans saying: ‘Oh My God, Oh My God, Oh My God!’ Automatically repeating the phrase without the thought of the connotations or poignancy. The final concept was then born, The repeated images of the planes crashing into the Towers over and over again from every angle built up a picture in his head, the planes and building started to resemble the Crucifix and the Shroud was Jesus’ Face. Ben Oakley is known as a Creative Furball, using very Inventive Mixed Media.

OMG (is Better than yours) 2011 W.105 x H.95cm Acrylic, spray paint & emotion on a steel W.W.II air raid shelter cover

CHRIS ALLAN Imagine the start, a second after the big bang. That brief, brilliant period when matter gathered in clumps and burned, it was a bonfire; over almost as soon it began. The universe is very young. It has swollen some ten thousand trillion times in size since then. Nevertheless, it is in this blasÊ that the seed of humans arose. Zoom out of that first second. Factor it up to get the life of the earth so far. Within that second image a glowing moment embedded within. Zoom out again, to get a new period, so Earth’s life time is reduced to the span of that second. Chris sets out in the series of paintings with a clear vision not to document what has already occurred. Instead the paintings allow something to occur through an arrangement of light, surface, you and with you through light, they tell you we are not composed of separate fields but as coexisting exchanges, and by dissolving the specifics of form and recognizing alignment with all things (flesh, mind, spirit, inert matter, light, space) you can see them as solid allegories. Rather than remaining quiet and lifeless, the forms can be seen as an object in time. He attempts to convey the intangible against something you might be able to see, so you can picture yourself as divisible from time and culture/religion against the stillness of being.

The Self that I Destroy Again and Again // My Path to you the Mute 2012 W.100 x H.100 x D.5cm Mixed media, diamond dust, varnish & reflective material


Coming from a creative background in film, Claire is interested in the power of images to manipulate and lead us to certain destinations. We are looking at life from out own perspective with the surface level forming the shape of opinion. Her work draws on the human conditions through moral dilemmas, personal convictions, beliefs and superstitions; each of which is entrenched in the institutions that have been set up as the foundations of our existence. The medium and the duality of the work elicit questions of definition and focus of the viewed image. After an initial response the work demands further scrutiny and offers alternate positions depending on the viewers’ standpoint. Claire’s quest is to subvert and confuse the viewer taking them on a journey where they consider and question their initial judgement

OFFENDAT ACTVS OMINIS QVAM IMAGINES 2012 W.15 x H.70 x D.5cm Bronze held by a chain

COSMO SARSON Inspired by a tiny newspaper photograph that Cosmo found many years ago of a Polish youth group break-dancing for the last Pope. The original painting W.183 x H.122cm is a construct based on a photo shoot he set up with a friend who is a dancer dressed as Jesus, and a found image of some Cardinals applauding the Pope in the Vatican.

Break-dancing Jesus 2012 Silk screen print


He is a master craftsman of the 100 year old trade of neon glass blowing and has transformed his traditional commercial work of neon signs into extraordinary and illuminating art. Starting at the age of 17 and studying at the British School of Neon, Darren has learnt this rare trade after many years of training and learning and has been supplying neon signage ever since. He is now delving deeper into the world of wall based neon art and sculptures and he is producing some of the most eye-catching, dazzling and unforgettable pieces which harmonize and compliment the modern art world.

Don’t Assume that I came to bring Peace 2012 W.68 x H.100cm Neon sculpture


Dominic is interested in the hypocrisy of the Catholic church. How it has such a dramatic effect on peoples lives, from SEX & WAR to how we lead our daily lives. With many people feeling they are living in GUILT & SIN.

GAY GOD 2012 W.61 x H.61 x D.3cm Archival giclee print

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Seemingly spacious and uniformly marked, on closer inspection, a segregated, punitive landscape is revealed, reminiscent of a grave site or a marked-up calendar – the effect signifying death and a long history of violence orchestrated by the human mind. The words themselves invite us to correct the assumption that the same cultural agendas are not still very much alive and more relevantly, living within ourselves. Everett Jaime is a London-based, self-taught American artist, musician, writer and photographer. His work aims to express our misguided stumbling toward meaning.

Are You Kidding? 2012 W.79.3 x H.61cm Oil, acrylic, charcoal & ink on board

GARY BETTS Gary is a product of London’s East End, growing up in a working class environment that was tough and as far away from art as possible. He turned his back on the expected path of East End working life and enrolled at art school. When he left, he was involved in the commercial world in a creative capacity for 25 years. After that time, he decided it would be good to get back to his real passion and focuses his creative energy in a more personal and fulfilling way through sculpture. His work is often described as enigmatic, he likes to investigate the raw material of clay in a way that conveys his personal insights, giving a gentle sensitivity about his sculpture that cries out to be heard.

The Ending 2011 W.26 x H.53cm x D.17cm Ceramics, crackle glaze & chain

GLENN FITZPATRICK Mother of the Office Party 2012 W.84 x H.53cm Gel Liner

Glenn’s title and subject matter ‘SYMBOLS OF SOCIETY’, derives from the powers and associations that determine our identities via symbolism, icons and signs. Symbols are an integral part of our society, be it religious, fashionable or even corporate. They define who and what we are, we can bow to them, celebrate them and even work for them. Almost everything we wear and see is branded or has a logo, it can give us an indication of rich or poor, good or bad, and they can come with status that suggest ranks within a hierarchical society. Amazing how an inanimate object, symbol or sign can determine our temperament and psyche.

GONNYGLASS “If there is an all-powerful and all-knowing and all-loving God, then why is there so much suffering in the world?”

Describing herself as an ‘Urban Glass Artist’, Dutch born Gonny van Hulst AKA GonnyGlass, is taking traditional glass techniques to new artistic levels and the 21st Century. With a fascination for street art subculture and its context within the urban environment, she has developed her own distinct style. Having moved to London a decade ago, Gonny found herself inspired by the random, absurd chaos and diversity of urban life. Finding beauty in urban decay, she set about translating this to her multimedia artworks, focusing on glass, a material that in itself is very much representative of urban life. ‘where’s your GOD now’ is made in collaboration with OWL.

where’s your GOD now 2012 W.78 x H.55.5 x D.57cm Neon, perspex, peephole, household paint & collage on wood

HELEN GORRILL ‘Your desire shall be for your wife, and she shall rule over you.’ (Genesis 3:16)

Much of Helen’s work questions and reverses the submissiveness of women advocated by religion, often with unexpectedly violent outcomes. In particular, her investigations have looked at the portrayal of the Virgin Mary. People are often afraid to discuss religion, and it remains one of our last taboos, a subject we are afraid to discuss for fear of causing offence. With even Western restrictions on the media’s criticism of any religious practice, male-controlled religion will continue to dominate and underpin our society. Helen’s feminist subject matter is deeply disturbing, and vital in that it speaks the unspeakable.

Untitled 4 (Deconstruction of the Virgin) 2011 W.120 x H.239 x D.0.1cm Ink on archive etching paper

HENRY HATE Henry Hate is a London based artist whom works from his studio in Shoreditch, East London. He was to enrol at Savannah Collage of Art & Design, when he found himself working in a brothel, to pay bills and rent. Early on in his career he worked as an assistant for Durk Dehner of The Tom Of Finland Foundation in Los Angeles. His tattoo work is visible on the likes of Amy Winehouse, Alexander McQueen, Comedian David Cross, Paul Thompson of Franz Ferdinand, Pete Doherty and Preston of The Ordinary Boys to name just a few. Originating from Hollywood California he’s spent the last few years cultivating a work base that spans both commercial work in print and media, while still maintaining his D.I.Y. ethic learned in the early queer core / punk rock days as a youth. Mr Hate’s early works were featured in the 1st annual Gay Pride Art Show in Orange County, and currently gearing for his first solo show. His work has been showcased along side fellow artists as Sexton Ming, Jamie Reid, Jason Atomic and James Cauty. Henry is owner of Prick! Tattoos & Piercing in Shoreditch East London and lives in West London Notting Hill area with his partner and their dog Joleene.

St. Teresa 2012 W.78 x H.101 x D.6cm Limited Edition of 15 Enamelled diamond dusted glicee print


Cilice 2012 W.7.5 x H.20cm Brass & enamel

Flagellation 2012 W.7.5 x H.20cm Swarovski crystals, brass, leather & wood

Investigating existential concepts from challenging perspectives and working in a variety of media, in order to create subversive and thoughtprovoking art, is the core of Iluá’s practice. Permeated by a strong sense of the relationship between decadence and beauty, her work explores some of the darkest aspects of the human condition. Drawing on her background in art history Iluá produces pieces which rethink Greek and Catholic Mythologies and classic themes such as Vanitas and the Pudica Pose. By approaching these subjects with a contemporary vision, she articulates reflections on current social values, history and traditions, as well as on our attitude and feelings towards them at present. Her choice of materials is dictated by her ideas as an intrinsic visual dialogue between matter and meaning is vital to her practice. Leather, crystal, silicone, and metal charge pieces with a transgressive sexual intensity: pain, pleasure, sin, angst and irony crystallise.

IVY VAN HULST “All you sinners, beg for Mercy as the Executor of God’s Wrath will strike upon thee!”

Ivy is a self-taught artist who loves the combined force of the sensual and the ‘sick’ in both her own work and that of others. Her Dutch background contributes a lot to her relaxed attitude towards her sexually inclined artwork, leaving us to confront uncomfortable truths about ourselves as voyeurs. Her portraits of women are beautiful, aesthetically pleasing and less smutty. Her message is clear yet she delivers subtlety in every piece which always influences the observer’s own interpretation. The inspiration for this piece came from the 1933 Chaplet of Sister Faustina’s striking vision of God; “I saw an Angel, the executor of God’s wrath about to strike the earth I began to beg God earnestly for the world with words which I heard interiorly.”

The Executor of God’s Wrath 2012 W.76 x H.76 x D.3cm Acrylic on canvas

KANE CALÌ “If morals are to be implanted amongst the masses one must seek the Agents of Change for only they can redeem ones ill doings.”

Born and raised in Malta; a highly roman catholic country, Kane was introduced to the concept of Sin form very early on. Tales of the all seeing, all powerful ‘forgiving’ god where often spoken of over the dining table and where ever necessary. This body of work feeds on past recollections of childhood paranoia in which fear from the watchful eye of god took hold. Nothing went unseen, nothing went unnoticed...

Agents of Change 2012 Limited Edition of 3 22cm diameter Ceramics, blown glass & ceramic decals

MAGNUS GJOEN Magnus’ prints examines how to change peoples relationship and pre-conceived notions of objects. Something which is potentially extremely destructive can be made into beautiful yet fragile objects of art. It’s this misconception of beauty which Magnus wants us to see in a different light, being it weapons, animals or the human race itself. The latter which is capable of creating immense beauty but also capable of destroying it all. His art aims to rethink old concepts and re-interpret them and wants to shed new light on past treasures, updating them and making something that is contemporary but still has something from the past. Taking inspiration from street and pop art and juxtaposing it with fine art, he creates new and modern takes on old masterpieces or manipulates something powerful and strong into something fragile but beautiful. He often questions the correlation between religion, war, beauty & destruction in his art Magnus Gjoen was born in London to Norwegian parents and studied Design in London & Milan. He works as a designer/graphic designer for Vivienne Westwood.

Break Glass for Second Coming 2012 Limited Edition of 10 W.190 x H.65 x D.02 Giclee print


“Counter-Counter-Reformation” represents the overlapping of the sacred and the profane, the triumph of the human urge over the will of God. The subtlety of the boy’s depiction is a reflection on the conspiracy of secrets maintained by the church in an attempt to keep the scandal from going public. The dispersal of crosses is a comment on the presence of God in the priest being dirtied and, in the end, ejected through the priest’s actions.

Counter-Counter-Reformation 2012 W.50 x H.60cm CNC cut acrylic sheets

MARK PERRONET “I tell you we are here on Earth to tart around, don’t let anyone tell you different” (Kurt Vonnegut)

“I have something to say but I don’t know what it is” Mark Perronet

Kill in the Name of Christ 2012 Limited Edition of 3 W.60 x H.75cm Archival Inkjet Print

MASON STORM “I was put here as a warning to others, keep your head down or you will end up like him!”

Mason produces work on subjects and matters that grabs him be they good or bad, he likes to comment on them in the way he feels best describes his take on those subjects. His modus operandi is a simple one, and will always strive to create ideas that are bigger than the person he is. Mason’s mantra is a simple one: “If you like my work buy it an love it, if you hate my work buy it and burn it!”

Onward Christian Soldiers? 2012 Mixed media sculpture

MAXINE ATTARD Maxine’s work revolves around the search for spirituality which began due to her dissatisfaction of the church’s promise of spirituality. Born and raised in a conservative Catholic country, She was taught that spirituality was found only through religion but the church’s excessive material display, proved to be the manifestation of the power of an institution rather than the means for the way to the spiritual.

The Sacred Vessel 2011 W.13 x H.21 x D.13cm Chalice & rotten wood

Sacred Vessel and Posta Rużarju - One Decade-The Crucifixion are a response to the material/objects used by the church/institution to attract the lay people. Maxine uses these objects in a way that shows the materia as opposed to the spiritual; precious material is covered by rotten wood, a cheap and useless material; the holy pictures are used for a different form of prayer that is more intimate and perhaps more spiritual rather than the forms of prayer dictated to us by the church. Posta Rużarju - One Decade - The Crucifixion (Detail) 2012 W.54 x H.37 x D.8cm Holy pictures, menstrual blood, nails, cigarette burns, wood, paint & perspex

NIC JOLY In 2005, Nic started his Underfoot project. The Underfoot project works as small pieces of theatre, framed feelings, thoughts and observations that need to expressed. Life is full of small details and happenings, that intrigue us, these small details are what make up our journeys through life. We are confronted daily by tragedy, humour, pain, love, sadness, happiness, lust and the list goes on. In highlighting these observations in this small scale I am drawing attention to the tapestry we live in, the theatre of life.

The Crusades is part of the Underfoot series of works. Miniature framed sculptures, the actual figures being 1 cm tall.

The Crusades 2012 W.30 x H.40 x D.6cm Mixed media in museum quality glass fronted box frame

NICKY STORM This image came about through a collaboration with Nicky’s husband Mason Storm for his forthcoming New York Show. The photograph was produced bearing in mind Mason’s original concept, but for Nicky it was all about capturing the emotion that the image required. Nicky also stated that the model was very aware of what was required from the picture, he was enthusiastic and very theatrical, almost becoming the character. Her fascination about photography is that in a split second the perfect image will be captured that was not there a fraction before or would be lost a fraction after. Sometimes as a photographer the joy is sifting through hundreds of images to find the one that just jumps out at you and the fact that through this medium a combination of technical knowledge in conjunction with the art of imagination can create myriad images from a single source.

Hard Father 2012 W.60 x H.42cm Photography

PAULA CHAMBERS Paula’s current art making practice explores the dilemma of what it means to inhabit a female body. She creates installations and individual works that contain multiple layers of meaning; the work is subtle and surprising, disturbing and amusing. She alters and adapts ready-made objects that stand in as signifiers for the maternal body, casting objects in unusual or unsuitable materials with the intention of suggesting and alternate reading of the original object. Her intention is to promote in the viewer a complex response encompassing the cultural, political, social,historical, religious and mythological agendas that inform our current perspective on motherhood and its role in contemporary society For the Love of God 2010 W.40 x H.75 x D.5cm Set of 2 framed Knitted stinging nettle yarn, bone knitting needles & bone buttons

RICHARD KOLKER In this contemporary re-working of Ruben’s masterpiece, which showed Herod’s slaughter of baby boys after the birth of Christ., The ‘baby killers’ are both those in financial institutions whose irresponsible approach has lead to the debt crisis, and the instigators of a politically motivated European single currency. The fallout from the failure of which, we are about to experience. As in all times of economic hardship it is the less wealthy who suffer disproportionately. The location is the steps of the Royal Exchange building in the City of London. Now an upmarket, luxury shopping mall, but was traditionally a centre for trade and commerce, and also housed the trading pits of the London International Financial Futures Exchange.

Massacre of the Innocents after Peter Paul Rubens 1611-12 2012 W.119.5 x H.150.5cm Digital C-type Print

The image was created using 3D modelling and computer generated imagery (the building blocks of the online video game) to emphasize the often naïve understanding as to the potential consequences of their actions that many investment bankers and fund mangers can have as they commit to trades and financial exposure with all the thought and superficiality associated with playing a computer game.

Rooms brings you the latest discoveries from a global subculture, showcasing arresting artwork form hidden and not so hidden artists and other creative thinkers.

Available in both print and digital format |

*Media Partner | Religionis Violenta Exhibition

The Marshall Darling Productions is a self-facilitating media node. Primarily concerned with the visual arts and to enter into a dialogue with image and sound, exploring the relationship between the two mediums in a subversive manner. Look at your notions, being all challenged and that! |

*Religionis Violenta Video | Directed & edited by the Marshall Darling Productions

RITTY TACSUM Ritianne Muscat (b.1990) known as Ritty Tacsum is a largely self-taught experimental photographer and multimedia artist who has a keen and sensitive eye for the abnormal, absurd, weird and surreal. In the 19 months since she has been working as a freelance photographer, specialising in artistic and experimental work, she has had her work published in several local and foreign magazines (online and in print). Last year marked an important milestone in her career, when she was asked to give a debut show at St James Cavalier Centre for Creativity featuring a collection of 18 portraits. Titled Ritty Tacsum and her Humanoids, the exhibition featured more than mere photographs, going a step beyond the norm, and integrating props, costumes and memorabilia in the show, giving it a very distinct and personal touch. The Deuteronomy inspired her Holy Bubble triptych. The images are nothing but a reference to some of the violent verses that finds in the bible.

Holy Bubble Triptych #3 2012 W.40 x H.40 Limited Edition of 5 Manipulated photography

ROBERTO LANDIN Originally from the North of Spain Roberto grew up surrounded and influenced by Portuguese, Spanish and Gaelic cultures.   His work focuses on the subjectivity of objects and the human being on three levels;  spiritual, physical and emotional.   Art  as a  form of communication is his language of choice to express his inner self. He is interested in theology, philosophy and anything related to consciousness, humanity and is inspired by Osho’s philosophy and experimented with many of his theories in his own life. His art practice is informed by his experience working as a therapist and forms the foundation of how he explores and expresses his ideas. Roberto is interested in portraying the human behaviour through his work.

Shara 2011 W.150 x H.220 x D.5cm Mixed media, acrylic over a collage of bible pages

THE DnA FACTORY The remarkable art partnership of DnA has consistently produced a body of work that forces us to confront the ambiguities of the social condition and our participation or lack thereof that shape the creatures; Culture and Society. Artistically The DnA Factory present us with sculptural assemblage or tableaux, collage and photomontage which merge observational reality with myth and story telling to a most thought provoking effect, with a peculiarly unique visual language built upon the idea of transformation/ transmutation of the material bones, creating a whole from previously disparate elements. Inspiration stems from experience, of storytelling and the power of word, questions of shifting morality, social norms and non-norms, alienation and difference, perceptions of sex and sexuality, gender and gender confusions, vision and interpretation, life. ‘We all exist in concurrent and overlapping stories that are no different in essence and subject to those of the Brothers Grimm, Aristotle, Dante or The Bible. It is all the telling of human strengths and weakness, the mundane and extraordinary, in this nothing changes. Our work is a visual ‘telling of stories’, a continuous narrative shifting back and forth through the only time and experience we both know and share, that being our own observations, our own lives.’ The DnA Factory

The Motive Motif 2012 W.50 x H.110 x D.25cm Resin, wood, gold plated steel & barbed wire, water colour, lacquer

UMBERTO BUTTIGIEG Umberto’s current work is a comment on spirituality vs institutionalised religion and explores the blurred line between Devotion and Cult, highlighting the faults of religious indoctrination. The practical approach followed is that of an artistic debate, almost mimicking a political debate where arguments are twisted and re-interpreted to accentuate faults and negative opponents. Hence, pre-existent materials with religious connotations (readymades) are utilised, altered, manipulated, ripped, re-assembled, added on with prints, paints, drawings and writings, or juxtaposed with other elements, transforming that such material conveys and the concept they represent. In this process, messages and meanings are re-coded and images are re-defined and contaminated. Icons are violated and vandalised to create new ones

CaliceAmaro 2012 W.47 x H.56.5 x D.3cm Painted paper collage on antique poster


Yvonne was born in London and studied Fine Art at Loughton College during the Punk era of the 70’s where she was tutored by Bill Woodrow. Going on to major in Graphic Design and graduated in 1984 as a fellow of the Society of Industrial Artists and Designers. Yvonne’s work ‘If You Think You Know Me, You Don’t Know Shit’ looks at our first impressions of others visual identity and how we already have made up our minds to their worth and beliefs.

If You Think You Know Me, You Don’t Know Shit 2012 W.61 x H.76 x D3.5cm Spray paint & collage

P R O V O K E ,

Mala Fide (In Bad Faith) by Magnus Gjoen



T H AT ’ S





C R U M B L E S !

Religionis Violenta Catalogue  

Catalogue of the Religionis Violenta Exhibition curated by KGB-Projects at the London West Bank Gallery