Contemporary British Printmaking 1967 - 2017

Contemporary British Printmaking 1967 - 2017

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Contemporary British Printmaking 1967 - 2017 27th Novemember - 16th December 2018

All works are available for sale upon receipt of this catalogue. The entire exhibition can be viewed at www.jgg.co.nz

Jonathan Grant Galleries 280 Parnell Rd Parnell Auckland New Zealand Ph: +64 9 308 9125 Email: jg@jgg.co.nz www.jgg.co.nz

Illustratred cover (Detail): Patrick Caulfield Arita Flask Black Screenprint on wove paper 107 x 81 cm Signed, Ed. 2/45 Published by Waddington Graphics, London 1990 3

Contemporary British Printmaking 1967 - 2017 Text by Richard Wolfe This selection of 28 prints - and two ceramic plates – was produced by 13 British artists in the period 1967-2017. The artists, who include such well-known names as Patrick Caulfield, Howard Hodgkin and Allen Jones, span the twentieth century, beginning with Stanley Hayter (born 1902), Barbara Hepworth and John Piper (both born 1903), while the youngest represented here are Charles Uzzell-Edwards (aka Pure Evil, born 1968) and Jacob Love (born 1980). While many of these artists are primarily known as painters, all have also adopted printmaking as a further medium for personal expression.

Their approaches to printmaking are as diverse as their own backgrounds; John Piper served as an official war artist during WW2, and Terry Frost who, like Barbara Hepworth, was associated with the St Ives group of artists, began his painting career whilst a prisoner of war.

Among the younger generation, Patrick Caulfield and Allen Jones studied at the Royal College - along with David Hockney - and several came to prominence following their inclusion in the prestigious Young Contemporaries exhibitions in the 1960s. A notable exception among these painters is sculptor Barbara Hepworth, represented by her 1970 sculpturally-themed screenprint, Three Forms. Bruce McLean also began his career as a sculpture student, later becoming a conceptual artist and exploring a wide range of media, including printmaking.

Stylistically, these prints range from Pop art to abstraction and personal expressionism. At the Pop end of the spectrum, Allen Jones’ Woman Splash (Kneeling Woman) shows his early interest in imagery sourced from pulp magazines, while Pure Evil, who began as a street and graffiti artist, is represented by the Andy Warhol-influenced Enjoy Coke Sharon Tate. Patrick Caulfield, who always resisted being categorised as a Pop artist, was nonetheless a master of reducing subjects to the barest of essentials, as seen in his suite of 8 simple vase forms, caught between their light sources and shadows.

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As ably demonstrated here, screenprinting is an ideal means of laying down areas of solid colour.

Among those who have explored its potential are Patrick Heron and Albert Irvin whose prints – and paintings – are distinguished by bold sweeps and interacting areas of colour.

Hardly surprisingly, the majority of the prints in this collection were screenprinted, and in some instances they received additional treatment.

For example, Terry Frost’s Blue, Red, Black Vertical Rhythm is a screenprint with mixed media, while Albert Irvin’s dynamic compositions have calligraphic elements added by means of woodblock printing. Two artists who employed alternative process altogether are Howard Hodgkin (soft-ground etching and individual hand colouring in watercolour) and Allen Jones (lithography).

Patrick Caulfield, Ipanema, Glazed Lithograph on Bone China

William Tillyer works in various media and, as indicated by both the title and his use of primary colours, his woodcut with printed collage, Living by the Esk – De Stijl, acknowledges the early twentieth-century Dutch artists group. Yet another approach is shown by Jacob Love, who used modern inkjet printing for his Blue P6MA Press.

Also included here is the highly influential Stanley Hayter, who was central to the revival of printmaking in the twentieth century. He is represented by four screenprints which illustrate his ongoing exploration of the possibilities of colour and pattern, while his arrangements of curving and intersecting lines create additional areas of optical interest.

One of the few representational images in this selection is John Piper’s atmospherically charged Cascade Bridge, Halswell, typical of his romantic approach to interpreting the English landscape. And complementing these 28 prints are two bone china plates, by Patrick Caulfield (Ipanema) and Bruce McLean (Passed the Tangerine Test), both demonstrating those artists’ mastery of simple forms.

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Stanley William Hayter (b.1901 - 1988)

S. W. (Stanley William) Hayter was born in Hackney, London, the son of a painter. After receiving a degree in chemistry and geology from King’s College London, he worked in Iran for the Anglo-Persian Oil Company.

After returning home in 1925 he held a successful exhibition of the paintings and drawings he had produced while overseas, and this is likely to have convinced him to pursue a career as an artist.

In 1926, Hayter went to Paris, studying briefly at the Académie Julian. He was introduced to copper engraving using the traditional burin technique, and in 1927 he opened the studio which would become internationally known as Atelier 17. The studio was attended by many distinguished artists – including Pablo Picasso, Alberto Giacometti, Joan Miró, Alexander Calder, Marc Chagall, Jackson Pollock and Mark Rothko - and Hayter became one of the most important figures in the 20th-century revival of the print as an independent art form.

Hayter was a prolific printmaker, completing more than 400 works in the medium before his death. His etchings were influenced by the abstract aspects of Surrealism, and notable for their experimentation with texture and colour. He was equally active as a painter, and also wrote two influential books, New Ways of Gravure (1949) and About Prints (1962).

In 1951 Hayter was appointed an OBE, Officer of the Order of the British Empire (elevated to a CBE, Commander of the Order of the British Empire, in 1968), while the French Government awarded him the Légion d’honneur. In 1958 Hayter was Great Britain’s representative artist at the Venice Biennale.

Aquarius Suite II

Aquarius Suite I

Signed, Ed. xx/xxx, 1970

Signed, Ed. xx/xxx, 1970

Silkscreen 71 x 59.4 cm

Silkscreen 71 x 59.4 cm

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Barbara Hepworth (1903 - 1975)

Dame Barbara Hepworth was born in Wakefield, Yorkshire, and studied at the Leeds School of Art and the Royal College of Art, London. At both schools she studied alongside fellow Yorkshire-born artist Henry Moore. Both became leading practitioners of the direct carving method, working on the chosen material as opposed to making preparatory models and maquettes. Although concerned with form and abstraction, Hepworth’s art was primarily about relationships, between the human figure and the landscape.

From 1924 Hepworth spent two years in Italy, and from 1925 until 1931 was married to sculptor John Skeaping. In 1932 she began living and working closely with painter Ben Nicholson. The pair travelled throughout Europe, visiting the studios of Picasso, Brancusi and Arp which had a profound influence on the development of Hepworth’s career.

Hepworth and Nicholson became key figures in a network of abstract artists, and when war broke out in 1939 they moved to St Ives. They became a hub for a generation of younger emerging British artists, among them Terry Frost, who was Hepworth’s studio assistant in 1951. For these artists, the wild beauty of the Cornish landscape offered a respite from the disruption and destruction of the previous war.

By the 1950s Hepworth was an internationally recognized sculptor, representing Britain at the Venice Biennale in 1950 and winning first prize at the São Paulo Bienal in 1959. Today, her studio and sculpture garden are one of St Ives’ most popular attractions, while the Hepworth Wakefield, in her home town, holds a rich archive of her work.

Three Forms

Colour Screenprint 77.5 x 58 cm

Signed and dated 1970

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John Piper (1903 - 1992)

John Piper was born in Epsom, England, and educated at Epsom College, the Richmond School of Art and the Royal College of Art, London. He was a painter, printmaker and designer, whose work often focused on the British landscape, especially churches and monuments. Some of his most memorable works were done as an official war artist during World War II when he recorded bomb-damaged buildings. His design work included tapestries, fabrics, ceramics, stained-glass windows and both opera and theatre sets, while he also undertook photography and screen-printing.

In the late 1930s Piper was one of the leading British abstract artists, before turning away from nonrepresentational art to naturalism. He then concentrated on landscape and architectural subjects in an emotionally charged style that was a continuation of the nineteenth-century English Romantic tradition.

A stormy atmosphere pervaded his well-known views of country houses, while his image of Coventry Cathedral made him a household name, and led to his work being acquired by several public collections.

As a writer Piper is probably best known for his 1942 book, British Romantic Artists. And in collaboration with poet John Betjeman he edited the illustrated Shell Guides to four English counties.

In his later years Piper produced many limited-edition prints, one such series being ‘Eye and Camera’, which he began in 1967. For these prints, which are distinctly different from his topographical work, Piper used fragmented and collaged photographic images, which were juxtaposed with drawing.

John Piper is well represented in the collection of the Tate – with 183 works.

Eye and Camera, Red, Blue,Yellow Screenprint on Grand Vélin Arches Paper 59 x 75 cm

Signed, Ed. of 150 Published by Kelpra Editions 1980 Illustrated: The Tate Gallery 1980-82: Illustrated Catalogue of Acquisitions, London 1984

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Cascade Bridge, Halswell Screenprint on wove paper 64.8 x 85.4 cm

Signed, Ed. 39/70 Published by Marlborough Fine Art, London 1987

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Spirals

Screenprint 55 x 58 cm

Signed Provenance: The Mall Galleries Illustratred: Kemp, Terry Frost Catalogue RĂŠsonne, no.256

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Terry Frost (1915 - 2003)

Sir Terry Frost was born in Leamington Spa, England. He started painting in 1943 when a prisoner of war, and then studied under Victor Pasmore at the Camberwell School of Art in London (1947-50). At Camberwell he came into contact with the work of the St Ives artists Ben Nicholson, Barbara Hepworth, Peter Lanyon and Roger Hilton who, among others, influenced the development of his own abstract style.

Frost believed that painting and printmaking were inseparable, and that each medium informed the other. Prints were therefore an essential element of his oeuvre, which encompassed etching, linocut, woodcut and drypoint etching, while bold colours and simplified geometric forms distinguished both his paintings and prints.

Frost held his first solo exhibition at the Leicester Galleries in London in 1952. Subsequent exhibitions included the Arts Council Touring Exhibition, 1976; and Waddington Galleries, London, 1961. He exhibited regularly in London, and in 1961 celebrated his first solo show abroad at the Bertha Schaeffer Gallery in New York.

His group exhibitions include the 1980 Hayward Annual, Hayward Gallery, London; Here and Now, Serpentine Gallery, London, 1995; 30th Anniversary Exhibition, Angela Flowers Gallery, London and Santa Monica, 2000. Frost’s work is held in the collections of the British Museum, Tate Gallery and Victoria & Albert Museum, London, and the National Gallery of Canada and the National Gallery of New South Wales, Australia.

Blue, Red, Black Vertical Rhytm

Screenprint & mixed media 53 x 55 cm

Signed Provenance: The Mall Galleries

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Untitled, 1970 Screenprint 77.5 x 59 cm

Signed, Ed. 38/100

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Patrick Heron (1920 - 1999)

Patrick Heron was born in Headingley, Leeds, Yorkshire. In 1933, following a visit to the National Gallery in London, he began to paint under the influence of Paul CÊzanne. From 1937 to 1939 he was a part-time student at the Slade School of Fine Art in London. He later worked as an assistant at Bernard Leach’s Pottery in St Ives, and as art critic for the New English Weekly.

He had his first one-man exhibition at the Redfern Gallery in London, in 1947.

His early work was largely figurative, with a colour sense influenced by Georges Braque and Henri Matisse.

After seeing an exhibition of American Abstract Expressionism at the Tate Gallery in 1956, Heron turned to abstraction, developing a style distinguished by the intense interaction of colour. His work was devoted to the analysis of natural forms, and the use of colour to express the pleasure human sense of sight.

In addition to painting Heron undertook tapestry design, and designed a stained glass window for the Tate Gallery in St. Ives. He had major solo exhibitions at the Museum of Modern Art, Oxford (1968), Whitechapel Art Gallery (1972), Bonython Art Gallery, Sydney (1973), Barbican Art Galley, London (1985), Art Gallery of New South Wales (1990), Tate Britain (1998) and Tate St Ives (2018). His work is in the collection of the Arts Council of Great Britain, British Council, British Museum, Manchester City Art Gallery, Tate Gallery and Victoria & Albert Museum, and some 17 collections in North America including The Metropolitan Museum of Art, New York.

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Albert Irvin (1922 - 2015)

Albert Irwin was born in Bermondsey, south-east London. He studied at the Northampton School of Art between 1940 and 1941, before being conscripted into the Royal Air Force as a navigator. On being demobbed he resumed his studies at Goldsmiths College (19461950), where he would later go on to teach (1962-1983).

Irvin’s influences included Walter Sickert, Henri Matisse and JMW Turner, and he had his first solo show in Edinburgh, at the relatively advanced age of 38. He was an abstract expressionist painter who often worked on a grand scale, and his work became increasingly vibrant with age, reflecting his affirmative view of life and art. His paintings were distinguished by sweeps of colour, giving the illusion of depth, and the inclusion of dynamic marks and gestures produced by the handheld brush. He also used a large squeegee to push solid bars of colour across his canvases. In 1980 Irvin began screenprinting, a medium which allowed him to develop his characteristic style, and establish himself as one of Britain’s leading printmakers.

Irvin’s work was widely shown in the UK and internationally, by the Arts Council of Great Britain, and at the Birmingham City Art Gallery, Serpentine Gallery, London, Contemporary Art Society, Manchester City Art Gallery, Tate Britain, Victoria and Albert Museum and Warwick University Arts Centre, and in significant exhibitions in Ireland and Australia. In 1975 Irvin won a major Arts Council Award, and a Gulbenkian Award for printmaking in 1983. He became an RA in 1998, and was appointed OBE in 2013 for services to the visual arts.

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Montcada II

Screenprint on Wove Paper 86 x 70 cm

Signed, Ed. AP IV/X Published by Advanced Graphics, London 1995

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O’Connell

Screenprint with Woodblock on Wove Paper 59 x 75 cm Signed, Ed. 50/225 Published by Advanced Graphics, London 1995

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Merrion

Screenprint with Woodblock on Wove Paper 59 x 78 cm Signed, Ed. 96/225 Published by Advanced Graphics, London 1966

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Concordia II

Screenprint with Woodblock on Wove Paper 59 x 68 cm Signed, Ed. 62/195 Published by Advanced Graphics, London 1997

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Concordia III

Screenprint with Woodblock on Wove Paper 52 x 68 cm Signed, Ed. 1997 Published by Advanced Graphics, London 1997

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Patrick Caulfield (1936-2005)

Patrick Caulfield was born in Acton, West London. He studied at the Chelsea School of Art (1956-1960) and at the Royal College of Art (1960-3) where his contemporaries included David Hockney and Allen Jones. He subsequently taught at Chelsea School of Art (1963–71), and in 1964 was included in the New Generation exhibition at the Whitechapel Gallery, which resulted in him being associated with the Pop art movement. Caulfield was and remained opposed to this label, seeing himself rather as “a ‘formal’ artist”.

In 2004 Caulfield was included in the touring Tate Britain exhibition Art & the 60s, which was shown at the Auckland Art Gallery. In the accompanying publication he was described as an artist ‘who cannot easily be categorised’, and one who typically presented ‘a banal motif in a flat, stylized and completely unsentimental manner’. His subjects were invariably reduced to their essential components, and depicted in a restricted palette of bold colours.

White Ware Prints is a portfolio of eight screenprints published in an edition of 45, with 13 proofs of each image, by Waddington Graphics, London. The subject of each print is a single white ceramic pot set against a dark background. Caulfield explained that the inspiration for this series came from the Victoria & Albert Museum, in particular its published catalogues of oriental ceramics. The colour of the background varies from print to print, while there are accents of other, brighter hues, and an dominant part of the composition in several prints is a strong source of light emanating from top right.

Arita Flask Black

Screenprint on Wove Paper 107 x 81 cm

Signed, Ed. 2/45 Published by Waddington Graphics, London 1990

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Lamp and Kuan Ware

Screenprint on Wove Paper 107 x 81 cm

Signed, Ed. 2/45 Published by Waddington Graphics, London 1990

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Sue Ware Jar

Screenprint on Wove Paper 107 x 81 cm

Signed, Ed. 2/45 Published by Waddington Graphics, London 1990

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Lamp and Lung Ch’uan Ware Screenprint on Wove Paper 107 x 81 cm

Signed, Ed. 2/45 Published by Waddington Graphics, London 1990

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Lung Ch’uan Ware and Black Lamp Screenprint on Wove Paper 107 x 81 cm

Signed, Ed. 2/45 Published by Waddington Graphics, London 1990

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Arita Flask

Screenprint on Wove Paper, 107 x 81 cm 30

Large W

Screenprint on Wov

White Jug

ve

Paper, 107 x 81 cm

Lung Ch’uan Ware and Window

Screenprint on Wove Paper, 107 x 81 cm 31

Howard Hodgkin (1932 - 2017)

Howard Hodgkin was born in Hammersmith, London. He studied at the Camberwell Art School and later at the Bath Academy of Art, Corsham, and his first solo show was in London in 1962.

Regarded as one of the outstanding colourists in contemporary painting, Hodgkin’s images could appear completely abstract but were based on specific events, such as encounters between people. A feature of his painting was his incorporation of the frame, making it intrinsic to the work.

Hodgkin established himself as a printmaker in the late 1970s, when he recognized prints as equivalents for his paintings and qualifying as things in their own right.

Determined to force boundaries and avoid the fussiness of traditional printmaking, Hodgkin began using carborundum, a sticky substance which is applied directly to the printing plate using brush or fingers, producing a rich textured mark. His set of four Venetian Views, produced in 1995, combined carborundum with etching and aquatint. Another existing technique which made his own was hand-colouring, allowing him to brighten up a monochrome print. Collectively, such devices were used to immerse the viewer in colours and forms.

A major exhibition of Hodgkin’s work was mounted at Tate Britain in 2006.

He was a well-known figure in the art world, serving as a Trustee of the Tate Gallery and the National Gallery, and in 1985 he was the second recipient of the Turner Prize. He was awarded the CBE in 1977 and knighted in 1992, and made a Companion of Honour in 2003 for his services to art.

Artist and model

Soft-ground etching & watercolour on wove paper 81 x 102 cm Signed, Ed. of 100 Published by Petersburg Press, London 1980

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Allen Jones (b.1937)

Allen Jones RA was born in Southampton. He studied at the Hornsey College of Art, London, graduating in 1959 when he began attending the Royal College of Art. In 1961 Jones, along with Derek Boshier, David Hockney, Ron Kitaj, and Peter Phillips, was included in the Young Contemporaries at the RBA (Royal Society of British Artists) Galleries. It was in this exhibition that British Pop art appeared in force for the first time and made an impact on the public.

In 1964, Jones and his close friend Peter Phillips moved to the United States and spent two years travelling around the country. In New York he discovered a rich source of inspiration in illustrations from publications of the 1940s and ‘50s, images that were outside the accepted canons of artistic expression, and suggested new ways of depicting the human figure.

Works by Jones are held by the Tate, the Museum Ludwig, Cologne, and the Hirshhorn Museum, Washington, D.C., and in 1963 he was awarded the Prix des Jeunes Artistes at the Paris Biennale. In late 2014 he was the subject of the major exhibition Allen Jones RA at the Royal Academy (where he is a Senior Academician). It traced themes through the artist’s career, revealing ‘a visual language fusing painterly tradition with the iconography of city life, theatre, and advertising – a language inspired by American consumer culture and the crisp graphics of Warhol and Lichtenstein.’ Further, Jones’ work was described as ‘sometimes provocative, always striking, and charged with the energy and vitality of human life.’

Woman-Splash (Kneeling Woman) Lithograph in colours on Arches Paper 66 x 50.2 cm

Signed, Ed. 51/65 Published by Edition Galerie, Wolfgang Ketterer, Munich

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Head

Lithograph on Rives wove paper 75.7 x 56.5 cm

Signed, Ed. 67/75 Published by Editions Alecto, London 1967

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William Tillyer (b.1938)

William Tillyer was born in Middlesbrough, northern England, he studied painting at the Middlesbrough College of Art (1956–9), before moving south to London in the 1960s to study at the Slade School of Art, with painting as his main subject and printmaking as his subsidiary. Following his time at the Slade, Tillyer took up a French Government Scholarship to study gravure under Stanley William Hayter, at Atelier 17 in Paris. In 1963 he returned to England. In 1959 two of Tillyer’s paintings were accepted for the Young Contemporaries, the tenth in a series of annual exhibitions showcasing the best work done by students in England’s art schools.

Tillyer’s first major exhibition was held at the Arnolfini Gallery in Bristol in 1970 and consisted of 33 etchings, three of which were immediately purchased for the British Council Collection. Those prints were created by a variety of techniques, including etching and five-tone screenprinting. In addition to printing and painting in watercolors, oils and acrylics, Tillyer has used a variety of other materials and techniques, such as three-dimensional panels and canvases stretched together with string. His work is distinguished by its changing nature, and its concern with the very nature of painting itself.

Tillyer’s work has been shown frequently in London and New York since 1970. He is well represented in the Tate collection, while his work is also held by the Museum of Modern Art, New York, the Brooklyn Art Museum, the Fort Worth Art Museum, Texas, and the Victoria and Albert Museum.

Living by the Esk - De Stijl

Woodcut with collage printed in colours 70.5 x 80.5 cm Signed, Ed. 4/60 Published by Bernard Jacbson, London 1983

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Bruce McLean (b.1944)

Bruce McLean was born in Glasgow and studied at Glasgow School of Art (1961-3) and at Saint Martin’s School of Art, London (1963-6) where his teachers included Sir Anthony Caro.

At Saint Martin’s students were encouraged to question the nature of sculpture, and McLean responded by using rubbish and impermanent materials. He went on to play a leading part in the development of Conceptual art in Britain in the 1960s. His range of media has included painting, printmaking, sculpture, film, photography, drawing and performance art, frequently characterized by wit and challenging the concepts of art, while the making of prints and posters has been an important influence on his sculptural work.

After St. Martin’s, McLean taught at the Slade School of Fine Art, where he became Head of Graduate Painting (2002-2010). His work is in private and public collections, including the Tate Gallery, Arts Council of Great Britain, Victoria & Albert Museum, the National Museum of Modern Art, Edinburgh and the British Council, and he has had numerous one man shows in Europe, North America and Japan. He has been included in many major international exhibitions, among them When Attitudes Become Form, KunstHalle, Bern (1969), The British Avant Garde, New York Cultural Centre, New York (1971), Documenta 6, Kassel (1977), New Art, Tate Gallery, London (1983), The Critical Eye, Yale Centre for British Art, New Haven (1984), 11 European Painters, National Gallery, Athens (1985), and British Art in the 20th Century, Royal Academy of Arts, London (1987). Most recently, he was included in the Tate’s Conceptual Art in Britain 1964-1979 (2016).

Burnt

Serigraph 94 x 74 cm

Signed, Ed. 25/75

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Marc Quinn (b.1964)

Marc Quinn was born in London, and studied at Cambridge University, 1982-5 (BA Hons History & History of Art). He was part of the Young British Artists group that emerged in the late 1980s, and came to prominence in 1991 with his sculpture Self (1991), a cast of his own head made entirely of his blood – nine pints taken from his veins over a period of five months – and preserved in a refrigerated display unit. It is can be regarded as the purest form of self-portrait, being of both the appearance and the material of the artist.

Other well-known sculptures by Quinn include Alison Lapper Pregnant (2005), a fifteen-ton marble statue of the heavily pregnant and disabled Alison Lapper, exhibited on the fourth plinth of London’s Trafalgar Square, and Siren (2008), a solid gold sculpture of model Kate Moss displayed at The British Museum. Quinn has also sculptured heads from bread dough, which was then baked, and he has painted hyperrealist images of flowers using an airbrush.

Quinn is interested in producing portraits that are more than just an image of the subject. He has thus made works using DNA, and in his Labyrinth series, ongoing since 2011, he has enlarged a person’s fingerprint, painted it onto oval shaped canvases or casting it into bronze relief sculptures. The resulting patterns may appear abstract but are in fact keys to an identity and are totally unique.

The artist has exhibited internationally in museums and galleries, including Tate Gallery, London (1995), Kunstverein Hannover (1999), Fondazione Prada, Milan (2000), Tate Liverpool (2002), National Portrait Gallery, London (2002), MACRO, Rome (2006), Musée Océanographique, Monaco (2012), and Somerset House, London (2015).

Prismatic Labyrinth Digital print on paper 69.8 x 50 cm Signed, Ed. of 60

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Pure Evil (b.1968)

Charles Uzzell-Edwards was born in South Wales, the son of Welsh painter John Uzzell Edwards. He is a graffiti artist known by the moniker Pure Evil, and a stablemate of Banksy.

In the 1990s the young Pure Evil was attracted by the cultural landscape of the United States. After completing his studies in graphics and fashion in London he established himself in San Francisco, working as a designer for the Anarchic Adjustment clothing label. After ten years in California, and inspired by the skate culture and graffiti artists of the west coast, he returned to London. His own involvement in street and urban art began with his sprayed images of strange vampire rabbits, a response to the remorse he felt at having shot a rabbit in the countryside as a youth. He now developed his own unique style, creating a simple vision of the dark side of life. It was perhaps inevitable that Pure Evil was interested in such things, being a descendant of Sir Thomas More (1478-1535), the Lord Chancellor who was beheaded by King Henry VIII. In recent years Pure Evil has exhibited worldwide in China, Russia, Mongolia, Brazil, USA, and throughout Europe. In 2012 he appeared on the BBC TV show The Apprentice, where his participation in an urban art task led to a huge increase in interest for his work. His art has moved off the walls, resulting in a range of limited edition prints, many of which are familiar images which he has ‘Evilised’, such as Sgt Pepper’s Lonely Hearts Bastards.

Enjoy Coke Sharon Tate

Screenprint on Fine Art Wove Paper 34.8 x 49.8 cm Signed, Ed. 88/100

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Jacob Love (b.1980)

Jacob Love was born in the U.K. and studied at the University of the West of England (BA(Hons), 2005) and Goldsmiths, University of London (MA, 2008). Since 2008 he has been a lecturer in photography at Goldsmiths. His art practice spans photography, video, film, design, installation and dance, and his work deals with sex, sexuality, interior worlds, interior design, loneliness and the obsessive culture of photographic image production and consumption.

His first solo exhibition was Lone Star, Black Tar at The Lyric, Hammersmith, London, in 2007. Since then he has been shown widely, including in Paris and, in 2013, at the Leslie Lohman Museum in New York.

His 2016 film piece Action Potential, which examined the entanglement of actual human bodies in the virtual world of digital communication and was developed in conjunction with Kings College London, the British Film Institute, the Wellcome Trust and no.w.here lab, was shown at the BFI Flare Festival (London LGBT Film Festival). He also worked on a community arts project for Margate Pride 2016 funded by the Arts Council.

Love’s interest in the power of photographic images to transcend matters of representation has been examined in his series of prints, based on wallpaper patterns. His inkjet print, Blue P6MA Press, consists of a grid of images of repeated images, presented kaleidoscopically, which on closer inspection are found to consist of assemblages of parts of the male anatomy. While they are here presented as for consumption, they also provide glimpses into the interior of the alternative world occupied by those bodies.

Blue P6MA Press Inkjet Print 45 x 45 cm

Signed, Ed. 1/5

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Bruce McLean, Passed the Tangerine, Bone China, 30cm