JEALOUS Newspaper SS14

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JEALOUS Newspaper SS14
2
www.jealousprints.com
www.jealousgallery.com
CONTENTS
INTRO
Page 3 - INTRO
Page 4-6 - ANDY WILX
Page 7-8 - EYESTORM - LUCIE BENNETT
Page 9 - MATT LAMBERT
Page 10 - 12 - ANTHONY BURRILL
Page 13 - ACID FACES
Page 14-15 - ANN-MARIE JAMES
Page 16-17 - MAGDA ARCHER
Page 18-20 - KATE GIBB
Page 21 - LIKE BUTTON
Page 22-23 - CHARMING BAKER AND WHY NOT ASSOCIATES
Page 24-25 - RUSSELL MARSHALL
Page 28-29 - £10 PRINT
Page 30 - JOAKIM ALLGULANDER
Page 31 - ROBIN DUTTSON
Page 32-35 - TIANANMEN SQUARE
Page 36-37 - ADVERTS
Yes, it’s that Jealous Newspaper time again
with lots of exciting things afoot here at
Jealous HQ.
As you’ll notice, we’ve tried be clever with
two newspapers in one, with the backpage
being the front page for The Jealous Prize or
The Spring issue, whichever way you decide to
look at it.
For starters the complete archive of the
Jealous Prize MA Graduate Editions has
now been taken by the Victoria and Albert
Museum as part of their permanent collection.
We have also been pow wowing with The
Saatchi Gallery and are delighted to say that
we will also now be showing this years Jealous
Prize at the Saatchi Print and Editions space
throughout the month of march. Very cool.
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(Please do keep a look out on the Saatchi
and Jealous websites for new exciting joint
ventures later in the year).
Our Tiananmen Square Project with Fung
Lam, the present composer for the Hong Kong
Philarmonic will be installed and performed
at Art 14 and is at present receiving a lot of
attention worldwide in this 25th. Anniversary
year, as it should! So please come and see. We
will be posting a video of the performance on
our site later on.
We’ve also decided to enjoy a week’s
transatlantic sojourn to take part in the spring
AAF in New York but will still be showing and
live printing at The Original Print Fair, in the
same month.
We have also released some great new
unique prints from Charming Baqker and Why
Not Ass which will be available as from march.
As our quest for world domination continues
as we will be expanding our studio space,
taking over the next floor in the summer here
at Jealous East.
As for live printing we may be stepping out
of the studio for a stint in the Carnaby Street
for Scream Editions pop up space later on this
March and posdsibly a weekend session at the
Other Art Fair in April.
Well that’s about it for now, so enjoy this
double issue and please, as usual, forgive the
spelling mistackes.
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www.jealousprints.com
www.jealousgallery.com
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ANDY WILX
illustrating for Dorling Kindersley and being
creative for Sky, Channel 4 and the BBC.
All this inevitably lead to management rolls,
spreadsheets, budgets and supervising others.
It had nothing to do with the Dalek on my wall
Actually that’s a huge misquote, I’ve taken
so I gave it all up and in 2012 at the age of 45 I
a creative liberty but believe the message
finally became an Artist.
stands true. I’ve re-written the godfather of
I can’t remember the first time I became
philosophy to suite my own ends, but that’s
aware of Jealous but I do know how. It was
how you have to roll sometimes.
because of this paper. I’ve been attending the
It’s taken me 46 years, so far, to get where
Battersea Affordable Art Fair, on and off, for
I want to go and while I’m not there yet
years and one year a new stand appeared. It
I’m certainly heading in the right direction
had very cool art, it had very cool people and
and largely thanks to Dario and the guys at
they were giving away a very cool paper. It
Jealous.
On the wall in my studio I have a drawing I did was free so I took a handful.
I’ve been returning to that stand ever since.
when I was six years old. It’s the drawing of a
Having burnt all my bridges with work and
Dalek and I know I was six because I signed it.
informed the family of my intentions I went
As a kid I wanted to be an Artist, a Zoologist
or a Dalek and as the school curriculum, at the about setting up a studio in my basement.
time, only catered for art I became a dropout. As a present, my wife Jools had booked
me a daylong screen-printing lesson at the
I half-heartedly attended Epsom School of
London Printing Club. That day defined those
Art and Design but it wasn’t for me, so when
that followed; I fell in love on the spot. The
the opportunity to work for a publisher in
Soho, London presented itself I jumped. During processes and the results they produced were
mesmerizing to me.
the 25 years that followed I’ve found myself
“It doesn’t matter how long it takes you to get
somewhere as long as you arrive.”
– Confucius
I went home and that night, logged onto
eBay and bought myself a small vacuum table
from a guy in Glasgow.
Our basement was now a screen-printing
studio and I set about producing prints.
2013 was good year; I was now a member of
the Greenwich Printmakers Association, I had
enjoyed success in galleries and art fairs, my
work was being well received by both artists
and the public, plus I was actually selling them.
But my basement restricted the size of my
work. I could only produce prints suitable for
a hallway. It was time to go large and that’s
when I met Dario.
Dario is an amazing, energetic, enthusiastic
and open character. He’s always on the side
of the artist, which is, I’m finding, a rare thing.
When I sidled up to him, in the queue for a
sandwich, at the Hampstead AAF he was
delighted to discuss my work and listened to
my ideas with interest. The result was our first
collaboration ‘Dreaming of Fish (large)’.
This print is still my personal favorite as it
captures everything I’m trying to achieve in
my work and show’s off some great technical
printing knowhow.
‘Dreaming of Fish’ is a portrait. It’s a
character study of someone’s craving.
Every time you look at it you see a different
expression, sometimes longing or guarding,
other times accusing or guilt. Printed in pale
and rich gold and 86cm square when framed,
it’s a striking and luminous piece when hung in
a bright spot. It was also my first work that used
the repeated pattern, inspired by ancient
Moroccan art that’s becoming a feature of
my work.
‘Bear in a Boat (large)’ was the second print
we did together, also 86cm square when
framed, printed in pale and rich gold it tells
the story of a journey. As well as pattern and
character I also like to present narrative.
Inspired by fable and folk law I’ll set the scene
and introduce characters but it’s up to the
viewer to author the narrative. It’s all about
how the viewer sees your work and how they
interpret the meaning - give them too much
and you risk ruining the image for them.
These large prints have been a game
changer for me. Thanks to the support and
www.jealousprints.com
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enthusiasm of Dario and the whole Jealous
This is the quote as intended: “It doesn’t
team I’ve elevated my work to a new level.
matter how slowly you go-so long as you do
I’m now creating statement pieces that move not stop.” - Confucius
people and really convey the intricate detail
in my work.
The latest print, also 86cm and in pale, rich
gold and copper, is called ‘Fox and Bird
(large)’ and is the most intricate and complex
of the three. It’s an example of things to come
with more colour and symbolism. Inspired
by Eastern European fable, it tells the story
of protection and desire. If this print had a
soundtrack it would be ‘Summertime Rolls’ by
Jane’s Addiction. Look it up.
2014 will prove to be an exciting year.
Already these three prints are winging their
way to Hong Kong for the AAF there, while I’ve
just been awarded Best Artist at the Oxford
International Art Fair by the Global Art Agency.
There are more prints in the pipeline and
I can’t wait for the next collaboration with
the amazing Dario, Will and the whole
Jealous team.
Illustration by William Kingett
www.jealousgallery.com
EYESTORM
- LUCIE BENNETT
Angie from online gallery Eyestorm talks
about the recent screen print editions they
published with Lucie Bennett at Jealous Print
Studio.
Eyestorm has been showing Lucie Bennett’s
work for over 10 years. One of our best-selling
and most sought-after artists, we’ve made a
number of editions with Lucie in the past, but
these recent four screen prints are our first with
her at Jealous Print Studio and we hope will
become some of her most collected.
As with most of Lucie’s work, colour plays
a major part in these new pieces, which see
a pair of images made in both an edition
of 70 and an edition of 15 presented in
differing colour ways. Our first publications
with her since the 2005 series that included
sell-out editions such as Pink Knickers and
Rose-coloured Shoes - which now sell on the
secondary market for over five times their
original value - after the images had been
decided from the many sketches she’d made,
the palette for these works became Lucie’s
primary focus.
Her starting point for the first two prints - Ringa-Zing-Zing and Electric Dreams - was that she
wanted to use bright and vibrant, almost neon,
colours. She liked the idea of a 1980s aesthetic
(those of you old enough will get the ‘Electric
Dreams’ association!) and for the line of the
image to really ‘zing’ off the paper - perhaps
her inspiration for her catchy ‘Ring a-ZingZing’ title. So Lucie and I spent some time at
Jealous going through pantone books and
paint samples, holding various different shades
and hues against each other until we found
Lucie’s desired effect. She originally chose a
yellow as an alternative to the orange in Ringa-Zing-Zing, but once the proofs were printed
by the brilliant printer Will, the unanimous
decision was that orange worked better, and
what a fantastic colour, complimenting the
turquoise of Electric Dreams perfectly. Lucie
described these shades, with their flat matt
finish, as ‘pinging’ out from the cool grey
background, which was the effect she was
after.
With the more exclusive editions of 15
- Racing Green and Damson Fling, the
‘older cousins’ if you like of the other two Lucie wanted the colours to have a more
‘sensuous’ feel in contrast to the ‘zestiness’
of Ring-a-Zing-Zing and Electric Dreams. So
we played with jewel tones of deep purples
and greens to give a more luxurious feel,
which has been added to by three layers
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of varnish over the line in these
pieces. For the background, Will
suggested we mixed the slightly
warmer grey Lucie had chosen
with a pearlescent ink to give that
extra lustre. Speaking about the
prints after proofing stage, Lucie
said that she was “thrilled with
the result” and that “each pair
really stands on its own, giving off
its own very different effect; one
sensuous, silky and distinguished,
the other fresh, playful and zingy.”
In terms of the images
themselves, each pair work well
in juxtaposition; the coy, cute,
more subtly seductive pose of
Electric Dreams and Racing Green
contrasting to the more assertive
and direct stance of Ring-a-ZingZing and Damson Fling. Continuing
to explore the female form and
sexuality as she has in previous
works, here Lucie presents two
quite different, yet both very
appealing aspects of femininity.
Aside from colour and form,
Lucie has also experimented
with titles in these new pieces by
giving each of them a lyrical and
slightly obscure name. In addition
to this, in order to connect each
print that shares the same image,
she opted to associate them by
rhyme. The result: Electric Dreams
and Racing Green vs Ring-a-ZingZing an Damson Fling. Flirtatious
and energetic, I love the way
the titles add that extra special
something, becoming part of the
work and impossible to ignore.
Angie Davey
Creative director, Eyestorm
Ring-a-Zing-Zing , Electric Dreams,
Racing Green and Damson Fling,
are exclusively available at
www.eyestorm.com.
www.jealousprints.com
www.jealousgallery.com
MATT LAMBERT
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charity behind the HEROES RUN TM), that has
since built three educational facilities in Africa.
This experience has had a huge influence on
his work.
I’m scared shitless. My brothers and I were
obsessed with wrestling as kids, we couldn’t
get enough of it. I especially loved the
mystique around the masked characters. I
grew up of course and (sadly) realised that
wrestling is not real and that perhaps the
heroes were not superhuman. I like the idea
that behind the masks and bravado are
ordinary men full of fear and apprehension.
It was important that the words only be
scratched in faintly, timidly even so that they
are not immediately obvious. I came across Jealous when I saw some of
their work in Art Republic (recognizable by
the Jealous stamp). I checked out the studio
website and loved the work so I sent some
work samples. I was not expecting a response
so I was delighted when the gallery replied
and am thrilled to be producing my first print
through the studio.
Lambert works in oils on a variety of surfaces
I enjoyed visiting the
including canvas, board and even magazine
studio and really got
covers. Sweeping loose marks combine with
to understand the
areas of fine detail, resulting in surfaces that
are as rich and varied as his subject matter. His multitude of printing
processes the team
influences include African cultures, celebrity
have mastered. It
magazines, childhood memories, evolution,
was great seeing the
cultural symbols, belief systems, big cities,
small embellishments
logos, superheroes and Star Wars.
such as the silkscreen
“I am fascinated by the enduring allure
varnish finish go into
of consumerism. Religion, democracy,
the print, resulting in
communism and even fascism have shaped
a standard of finish
the global landscape but only consumerism
has achieved utter supremacy. Its total appeal I had not previously
robs us all of our common sense, believing that seen in limited edition
the more we consume, the better our lives will reproduction.”
be. The truth of course is that we can never
have enough.”
Lambert’s work is predominantly driven by
his own experiences. At 23 and using his spare
time he set up a charity Pass It On Africa, (the
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www.jealousprints.com
www.jealousgallery.com
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ANTHONY BURRILL
The story of ‘Michelle Plays Ping Pong’
began ten years ago, at that time I was
experimenting with collage. It’s not a medium
I’m known for using, but something I used to
enjoy working with when I was a student. I
collect lots of books, postcards and found
imagery, I have an extensive library of boot
fair finds and charity shop treasures. One
particular book that I loved was a tourist guide
to the Tirol. The guide contained amazing
photographs of mountain scenery, the colours
were bright, pin sharp and almost psychedelic.
I used them as backgrounds for a series of
collages I was working on. Whilst I was on
holiday in Amsterdam I bought a series of
saucy vintage postcards from a shop called
Big Bananas. The postcards dated from the
early seventies and depicted a collection
of scantily clad women at home and on the
beach. I included the ladies in the collages
along with brutalist concrete buildings, pets,
simple geometric shapes and bright colour
gradients. I was looking at the work of Eduardo
Paolozzi, John Baldessari and Richard Hamilton
for inspiration. The collages weren’t for
anything in particular, they were way of using
images combined in strange interesting way
and for my own enjoyment.
Around the same time I was commissioned
to work on a project for DIESEL. The advertising
campaign called ‘DIESEL DREAMS’ was
produced by Dutch communications agency
KesselKramer, the campaign consisted of a
series of short films directed by an international
selection of photographers, animators
and designers. Each film was inspired by a
photograph from the campaign. Surreal
scenarios were depicted in a series of
photographs, each showing a model sleeping
and dreaming in an unlikely setting. I was
given a shot of a young man reclining on a
ping pong table, his eyes closed, with white
plastic balls raining down on him. I tried to
imagine what kind of dream he was having,
I thought of the kind of dreams I sometimes
have. I thought it would be interesting to
develop some of the earlier collage ideas in
to a short film. So I worked on an animation
with my long time collaborator Paul Plowman,
with a soundtrack specially composed by our
friend Malcolm Goldie. The animation took us
on a strange, surreal, psychedelic trip through
the young man’s dream. Mountain scenery,
sexy ladies, family pets and household objects
floated by and combined to create a bizarre
erotic mixture.
When the campaign was released it created
a huge amount of interest. Our film was titled
‘My Dream is Erotic’ and was shown in DIESEL
stores and online. We showed the film to a DJ
friend of ours, Chris Coco, who in turn passed it
on to Rob da Bank at Sunday Best
Records. Malcolm was invited to
extend the track into a full song
which was to be released as a
single by the label. Paul and I
worked on the original animation
and added more images and
psychedelic elements to create
the final full length video.
I had always wanted to make
a print based on the video, using
the imagery to create a richly
coloured psychedelic print. I was
delighted when Jealous Studio
suggested we make the print
together. I dug out the original
source material, the books and
the postcards, and began the
process of making the new
artwork. I picked the key elements
from the animation, combining
them in a circular design. I didn’t
want to just reproduce a still from
the video, but make a piece of
work that was inspired by the film.
The final print is technically quite
challenging, definitely the most
ambitious print I’ve undertaken.
It combines half tones, colour
merges and fluorescent inks, there
isn’t anything we’ve left out. It was
a great opportunity to return to
a project that I always felt would
make a great print.
www.jealousprints.com
Illustration by William Kingett
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www.jealousprints.com
www.jealousgallery.com
ANN-MARIE JAMES
Having first worked with Jealous as a recipient
of the 2012 Graduate Print Prize, it was exciting
to be invited to return to their studio to make a
new editioned silkscreen print to be launched
at Art14.
Whether working on paper or on canvas,
silkscreen printmaking is integral to my
practice. My paintings in acrylic and oil are
built up through layer upon layer of materials
and techniques. Beginning with a pencil
drawing based upon an historical sculpture
I produce a silkscreen, and through many
layers of print, drawing, paint and medium, the
repetition of figurative elements gives way to a
complex abstract composition.
The new print that I have made with Jealous
is from a series of works based on a sculpture
by Jean–Baptiste Carpeaux entitled ‘Ugolino
and his sons’, which I first saw in the summer
of 2012 at New York’s Metropolitan
Museum of Art.
Carpeaux’s sculpture is a fascinating study
of the human form, Ugolino’s dynamic limbs
and taught muscle contrasting with the
languid flesh of his ailing sons. This sculpture
depicts Canto 33 from Dante’s ‘Inferno’,
which describes the punishment of Ugolino
della Gherardesca – a Pisan count sentenced
to death by starvation and tortured by the
temptation to eat his children. Heavy stuff.
Reading Dante’s text, I became interested
in the idea of physical space as described in
Dante’s nine circles of hell, which is perhaps
reflected in the form of the resulting print. Ann-Marie James (b. 1981) was born in
Buckinghamshire, UK and currently lives and
works in London and Suffolk. She studied
MA Fine Art at Wimbledon College of Art,
London (2010–12); Postgraduate Diploma
in Fine Art at Chelsea College of Art and
Design, London (2010) and BA (Hons) Fine Art
at Central Saint Martins College of Art and
Design, London (2001–04). Awards include
the Derek Hill Foundation Scholarship at The
British School at Rome (2013–2014); MFI Flat
Time House Graduate Award, supported by
the John Latham Foundation, London (2012);
The Jealous Graduate Print Prize, London
(2012) and The Queen’s Award, Central
Saint Martins Scholarship Awards (2003). She
has undertaken residencies at Headspace
(supported by the Daiwa Foundation), Nara,
Japan (2011) and Lantana Projects, Memphis,
Tennessee, USA (2006). She is represented by
Karsten Schubert, London.
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www.jealousprints.com
www.jealousgallery.com
MAGDA ARCHER
Magda Archer trained at Ravensbourne
College of Art, Chelsea School of Art and
the Royal College of Art before embarking
on a series of group exhibitions. In 1996 she
produced artwork for The Beatles Anthology in
partnership with Peter Quinnell.
Since then she was the co-writer and
illustrator for the Harry Hill Fun Book. Some
of the artwork produced for the fun book
appeared in Peter Blake; About Collage at
the Liverpool Tate in 2000. She participated
in the group shows Kiss of a Lifetime at Vane,
Newcastle in 2009 and in London Calling at
Idea Generation Gallery, London in 2010. She
has written and illustrated a children’s book,
Watch Out Arthur! published by Harper Collins.
In 2010, ‘What the stars Buy’ Magda’s book
where Art meets comedy was published by
POLITE. In 2011 Magda had her first solo show,
‘Crazy Mad’ at the Cornerhouse, Manchester.
How would you describe your style?
Pop art meets wry, sometimes trashy,
nostalgia.
What inspires you?
Music, friends, art & artists, lyrics, expressions
& words, fashion, magazines & newspapers,
shops;particularly supermarkets for colour
& type choices, places , cinema, small furry
animals, the seaside etc etc.
Favourite work of art you have ever created?
My favourite painting I have made is ‘Please
Go Away’, small, polite, a touch of glitter &
most important, to the point.
What are you most proud of in your work?
Woah ! that’s a toughie. I was as pleased as
punch that Comme des Garcons used some
of my paintings in their SHIRT campaign of
2012, it was great to be part of the group of
other artists they have used. PLUS I have been
blown away with the prints I have made with
Jess Wilson at Jealous Print Studio.
What advice would you give to an aspiring
artist?
I would tell an aspiring artist to ‘keep going’
& to ‘never look back, your best work is
ahead’ unless you are crap at it, then I would
say ‘give up’ for all our sakes.
How would you describe your time in the
Jealous Print Studio?
I LOVE working at the Jealous Print Studio
because they are such an A1 bunch of
people who inspire me, are great at their
jobs, make me laugh & we all have one goal;
making beautiful prints.
Has your time working in the Jealous Studio
informed other areas of your practice?
I think working with Jealous has unconsciously
made some subtle differences in the way
I work, I simplify things, it’s a gradual thing
& some of the colours I can see look great
in a print I am using more of. I have been
experimenting more & learning all the time.
Do you have a secret skill or talent?
I’m in the Chelsea Arts Club Choir. I play
the piano & sing, I’m not particularly good
at either but I like doing it. I’m sort of O.K.ish.
I have a small piano in my studio for my tea
breaks.
Any future projects you can tell us about?
Yes an exhibition of paintings & prints with
Scream in March, we’re very excited. Plus 2
more prints coming very soon.
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www.jealousprints.com
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www.jealousgallery.com
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KATE GIBB
When did you know you wanted to be an
artist?
I think I fell in to the idea of being an Artist
from my Mum meeting her second husband
when I was around 11. He was a technical
illustrator / painter. When we moved in
together he got an extra room in our house
referred to as his ‘studio’. I was fascinated
by all its paraphernalia.. types of pens, nibs,
different shaped rulers, brushes, tubes of paint,
resins, oils, tapes, graph papers and an air
brush .. I really loved that piece of equipment
all shiny with its own compressor. The fact he
didn’t go to work formally everyday in a suit,
regular as clockwork like my Dad(!) intrigued
me.
I’d always enjoyed drawing, colouring and
making things at school. To see that you
could do this as an actual job was quite a
revelation! Growing up in this environment I
began to draw more, practice and challenge
myself creatively. As my confidence grew
so did my taste and I began to seek out
where my interests might lie in the Art world,
experimenting at school studying both art &
textiles, by then knowing I wanted to go to Art
college. And I wanted to study Art in London.
How would you describe your illustration
style?
I’m not sure I have an ‘illustration style’ per
se. If I had to describe it I guess I would say
‘printerly’.
The kind of printing I’m inspired by relies
on chance, hiccups & happy accidents to
provide the inherent qualities that make up
each piece.
My background in printed textiles gave me
an inherent love of colour and pattern which
provide the basis for the majority of my work.
I’ve an intuitive relationship to the silkscreen
technique and my practice remains
predominantly self taught. I see my process
as continually evolving and experimental,
choosing majoritively to focus on ‘one - off’
pieces when not working on a commercial
brief.
What are you most proud of in your work?
In a reflective way I feel most proud of
carving a career from what seems (to me)
to be one ongoing process of small, intuitive
decisions. I never had a plan I only knew
where my interests lie, what I was good at,
what I wanted to succeed at & realistically
what I wasn’t great at. Objectivity within your
own practice is key! To have made a life from
my work is a pretty grounding and heartening
feeling.
Has colour and pattern always been
something you were always fascinated by?
My background in printed textiles gave me
an inherent love of colour and pattern which
provides the basis for the majority of my work.
Colour changes my mood, pattern excites
me. I can’t help but react to either on a
daily basis .. whether picking socks in the
morning, complimenting a stripy top with a
contrasting geometric print or deciding on a
group of pigments for a new print. It changes
everything.
Which designer or artist do you admire?
Colour is always at the core of my work so I’m
easily seduced by Artists who challenge my
perceptions of it.
Ongoing favourites are Romanian twins
‘Gert & Ewe Tobias’, Copenhagen based
designers ‘Hvass&Hannibal’, London based
illustrator & ceramicist ‘Laura Carlin’ and the
multidisciplinary artist cooperative ‘Nousvous’.
I’m excited for what is happening in the
Art and Design world, watching the formal
structure of different practices fall away and
a more collaborative approach being the
norm. The crossing over of disciplines and
techniques which in turn create something
fresh. It’s slightly reminiscent of the ethos of
the Bloomsbury Group & their country retreat
‘Charleston’. (It is my spiritual home!) Painted
furniture, hand printed wall papers & textiles,
ceramics all created by the artists and writers
living there at the time.
Richard Diebenkorn, Lothar Götz, Eduardo
Paolozzi and Patrick Caulfield have
been a steady and consistent influence
to me throughout my career. Currently
I’m as inspired by architecture, fabric,
music, stationery, packaging.. as I am by
contemporary illustrators and Artists. Although
to contradict myself I don’t see one practice
as strictly separate from another, we all
influence each other in the creative world, its
a way of life I guess.
How do you split your time between
commercial projects and your own artistic
ventures?
Usually I will be working on both ventures at
the same time, so one very much influences
the other.
A commercial project may come in that
challenges and pushes me creatively in
a direction I wouldn’t naturally gravitate
towards.
For example, solving a more technical
problem for a client may present a new
application to my printed work that my
personal work hasn’t steered me towards.
And vice versa.
With regards to splitting time, it has to be
a balance as I need one to feed the other.
Naturally I also need to finance my career / life
so often the commercial side of things will take
priority.
You have a long standing relationship with
The Chemical Brothers: can you tell us a little
bit more about this collaboration?
My first collaboration with The Chemical
Brothers was in an era (now very much past)
that Record Companies still had decent
budgets thus allowing Designers & Artists
to create iconic covers that fused fine art,
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www.jealousprints.com
JEALOUS
illustration & photography. It was also a
golden time for the employment of illustration
within advertising, record sleeves, fashion
campaigns etc. A sort of mini renaissance
if you like, for Illustration. Their “Surrender”
Campaign happened towards the beginning
of this, suddenly I was very popular. I’d
only just left college, it was somewhat
overwhelming. But obviously incredibly
exciting too. Since then I have worked with
them & the Art Director Mark Tappin on around
five of their album campaigns. It also opened
up many opportunities to create sleeve
artworks for other popular bands too. When
you love music as I do, there is nothing more
rewarding than seeing your prints adorn a
piece of vinyl. Incredible.
You’ve been commissioned to do work for
some fantastic people and organisations,
including M&C Saatchi, Pentagram & the V&A,
is there anyone you would love to create work
for? An ongoing work fantasy of mine would
to have an opportunity to team up with a
fashion house and be their ‘in house’ print
designer.. creating designs & piece printing
garments with my own drawings creating a
unique collection. Isabel Marant is one of
my favourite designers. Also Eley Kishimoto
in London. To work for either of these fashion
houses would be a dream collaboration.
How would you describe your time in the
Jealous Print Studio?
A complete joy!
I felt slightly spoilt to be in an accomplished
print room with so many great printers around.
I learnt a lot just being there as well as from
producing the editions we worked on.
They allowed me to approach our
collaborative works with the experimental style
I naturally gravitate towards. Our first edition
was a selection of one-off Artists proofs. Pretty
special.
And finally, what would you be if not an
artist?
Who knows.. its a way of life for me, I can’t
imagine otherwise.
IS GREAT
22
www.jealousprints.com
CHARMING BAKER
AND WHY NOT
ASSOCIATES
I’m always collecting pieces of printed ephemera and
while ago I bought a series of 1950’s film posters. They sat
in the draw for a while and then I had the idea it would
be really interesting to silk screen something over the top
of them. I did a test poster as a wedding present for Andy
Stevens at GTF, just using typography. It worked really well
and then I thought I’d take them a step further by seeing
if Charming Baker would be interested in printing some of
his drawings over the top of the remaining posters. I had
recently been chatting to him about collaborating on
some typographic ideas to combine with his drawings. We
have been mates for about 20 years and we have worked
on various commercial projects in the past.
We worked very closely with Matthew, Dario and the
team at Jealous. It was fascinating to see how the ink
of the silk screen reacted with that of the old posters.
Some colours bled through, some did not. Various colours
seemed to intensify. It was quite random and we were
never sure what would happen. But that was the fun of
doing them, as each old poster was an original and you
would be hard pressed to find another we were eventually
creating a unique one off poster – there was no going
back once the ink was down!
I also have built up a collection of 1970’s british wrestling
posters. it seemed like fun to try printing charming’s
drawings of knights fighting over these too. www.jealousgallery.com
23
24
www.jealousprints.com
RUSSELL MARSHALL
Jealous artist Russell Marshall talks about
his recent exhibition - 40: A Kate Moss
retrospective – a month long show that hit the
headlines all the way round the world.
WHAT do give the world’s most iconic fashion
model for her 40th birthday? An art show
dedicated to her 25-year career and five
months of your life.
Well, that was my intention – Kate Moss’
whole career in one show. The five months
was how much time I had between idea and
deadline.
I started off as a journalist. I’ve spent 25 years
working my way through the British red top
tabloid industry – as a writer, editor, designer
and art director. I’ve even driven the vans but
that doesn’t sound very exciting. I’ve pretty
much worked for the lot of them over the
years. Star, Express, Sun, News of the World,
Mirror, Sunday Express and Daily Star Sunday.
And now I’m an artist... And for my first
major show I wanted to do something a little
different. My work draws heavily from my
newspaper days. From the images I select
to the colours I choose and the production
techniques and styles I like to use.
I wanted to use this experience to create
a show with a bit of depth. I’ve been telling
stories using words with pictures all my editorial
career and now with this show I was telling a
story using pictures with words.
The idea first came when I read that Kate
Moss had posed for a set of Playboy pictures
to celebrate her landmark birthday. I had a
think and pitched the idea of a retrospective
to Liam, Ruthie and Andy at Beautiful Crime.
They had already offered me a show... I just
came up with a different concept.
I chose ten pictures dating from 1988 – when
she was first discovered – right up to the
present day. I looked at various sources of
images but in the end selected them all from
the Express Newspaper picture library. I have
a great relationship there having spent many
years working for them. I got the permissions
I needed to use the images and spoke
with photographers who took the pictures.
Everyone was very supportive.
I wanted a spread of images date-wise and
I wanted the images to be similar enough to
compare and contrast... But different enough
to maintain interest. Most are cropped to
head and shoulders - but all are unmistakeably
Kate.
The concept behind the show was ten
images available in ten super bright pop
art colourways. 100 hundred possible
combinations - but all are one-of-a-kind prints,
one-offs.
I commissioned a friend and former
colleague – showbiz journalist Amy Watts - to
write the Kate Moss biog. I chose not to write it
myself for two reasons. My writing style is very
news-based... Short, concise and to the point I machine gun facts at the reader. Amy’s style
is more colourful, gentle and entertaining. The
other reason was I had enough on my plate.
The biog was typeset like a giant newspaper
article and cut into four parts – one on each
wall at Imitate Modern Gallery in Marylebone –
where we held the show.
I also researched a dozen or so quotes by
Kate – these were vinyl cut and stuck on the
gallery walls to punctuate the artworks and
give insight to the wit and humour of the
notoriously tight-lipped super model.
I also produced six Somerset paper prints – all
in editions of forty and five stainless steel acid
etched works.
And of course, everything was printed at
the Jealous studios in Shoreditch. I wouldn’t
dream of going anywhere else. Everything
I’ve ever screen printed has been with Jealous
– I spend so much time there I’m sure Dario
will start charging me rent soon. I absolutely
www.jealousgallery.com
love working out of the Jealous studios... It’s
not work... It’s too much fun to call it that. But
everyone is so dedicated and seems to get
what I’m trying to do. And I really enjoy the
input I get from everyone too.
Technically it was a bit of a challenge. It was
the first time we’d printed editions in canvas
– we’d proofed before and liked the results,
but it is a tougher surface to work on. We also
pushed the print size to the absolute limit. At
one stage there was two of us hanging off the
frame and a third running the squeegee. Big
thanks to Jess and Matthew.
We launched on January 16 – Kate’s
birthday. The timing was obvious and we
hoped to jump on the media bandwagon
surrounding her birthday and get a bit of
coverage for the show. But we didn’t quite
expect the reaction we got from the world’s
press. We had articles in the US, French,
German, Dutch, Italian, Chinese, Japanese,
Korean, Azerbaijan, Russian, Turkish, Mexican –
as well as British – newspapers and magazines.
And I’ve probably missed a few out here. We
even had TV crews in three languages!
But this wasn’t the first time we’d hit the
headlines. Last year I donated one of the Kate
Moss colour proofs to the Global Gift Gala
– Eva Longoria’s personal charity. It sold for
£24,000, which I think started to get the Press
excited about the show. And on opening night
I donated one of the canvas works to a charity
auction and it sold for £50,000. But I’m not
allowed to say much about this. Although I’m
obviously extremely pleased.
All the publicity aside, this was meant to be a
creative project. And I wanted people to be
able to enjoy the show regardless of whether
they were in the market to make a purchase
or not.
I’ve spent a few hours in the gallery over the
weekends – incognito! Just watching people
work their way around the show and was very
happy to see people reading Amy’s biog,
and the quotes on the wall and watching
visitors pointing out certain details or smiling
at something. The show has caused reactions
and interactions and you can’t ask for more
than that.
25
FAIRS
ART
AND EVENTS
Art 14 ~
28th Feb - 2nd March
Kensington Olympia, London
Affordable Art Fair New York ~
2nd-6th April
The Metropolitan Pavilion, Chelsea, New York
Original Print Fair ~
24th-27th April
Royal Academy Of Arts, London
Art Car Boot Fair ~
8th June
Brick Lane, London
Affordable Art Fair Hampstead ~
12-15th June
Lower Fairground Site, Hampstead, London
Jealous are always up for last minute pop-up shows and live printing
so keep your eyes peeled and check our websites
www.jealousgallery.com
www.jealousprtints.com
www.jealousprints.com
28
www.jealousgallery.com
£10 PRINT
As a print studio, we try to keep up-todate with current affairs. This can range
from simply leading a friendly discussion
about government policies to producing our
infamous £10 prints.
Some are loved, some are loathed, but our
£10 prints aim to inform and make a social
comment about our current times. All money
raised goes to the fantastic Great Ormond
Street Hospital, one of the world’s leading
children’s hospitals.
Our most controversial print to date was
produced in October 2013, to coincide with
Halloween. It features an iconic image of
Jimmy Saville with the words REAL SCARY.
Since his death on 29th October 2011, some
214 criminal offences have been recorded
against his name. A dark twist on the
Halloween theme, the print is a stark, and
arguably uncomfortable, reminder of how an
alleged sex offender abused his public profile
and managed to avoid justice in his lifetime.
The 5th December saw one of the most
important leaders of our time pass away,
Nelson Mandela. After 27 years in prison,
Mandela was finally released in 1990, during
a time of escalating civil strife. Mandela
joined negotiations to abolish apartheid and
establish multiracial elections in 1994, in which
he led the ANC to victory and became South
Africa’s first black president. After declining to
return for a second term, Mandela became
an elder statesman, focusing on charitable
work in combating poverty and HIV/AIDS
through the Nelson Mandela Foundation. He
received more than 250 honours , including
the 1993 Nobel Peace Prize.
Shortly after the death of Nelson Mandela,
Ronnie Biggs passed away on the 18th
December 2013. He was known for his role in
the Great Train Robbery of 1963, his escape
from prison in 1965, for living as a fugitive for 36
years and his publicity stunts while in exile. In
2001, he returned to the United Kingdom and
spent several years in prison, where his health
rapidly declined. Biggs was released from
prison on compassionate grounds in August
2009.
Justin Bieber started his pop career as a
squeaky clean teen, appealing to hormonal
teenage girls with his love songs and boyish
good looks. Fast forward six years and he’s
clearly had enough of this image. Bieber’s first
arrest in January 2014, coupled with a string
of brushes with the law and controversial
incidents in 2013, led to comments that his
image has been transformed from “boy-nextdoor” to “bad boy”. So Rock ‘n’ Roll.
29
30
JOAKIM
ALLGULANDER
www.jealousprints.com
Joakim Allgulander is a well established mid
career Swedish artist that has recently moved
to London.
His practice includes drawing, figurative
painting and constructed sculptural works
which often employ the use of artist’s made
neon.
Allgulander’s drawings are integral to his
practice providing a continual visual flow of
ideas and concepts. It is this shorthand that
is then used as foundation for developing a
more sophisticated language.
Allgulander’s paintings are concise moments
that often present the commonplace as a
way of reflecting upon its very validity.
Joakim’s new print with Jealous is a 5 colour
silkscreen with a torn edge and deboss.
This simple and concise reinvestigation of
certainty and transience is beautifully and
easily put with the relaxed symbolic plane
trails, past and present, continually travelling
over the timelessness of the mountains.
Edition of 25 + 5 AP’s £650 + VAT
A new neon piece
commissioned and
published by Jealous
is again, a beautifully
observed moment.
Referencing a pop
art aesthetic Joakim
moves this to a
present day post
modernism where
there is seemingly
nothing left to say.
Edition of 5 + 2 AP’s.
£5000 + VAT
www.jealousgallery.com
31
ROBIN DUTTSON
Robin Duttson first approached Jealous
to talk about making a screen print in 2009,
we think. Anyhow it was an awful long time
ago and no one is quite sure exactly when.
We waited and waited. It may well have
been four years but it was well worth the wait
when Robin came to our Studio last year to
make the extremely beautiful but really quite
technically challenging Bullfinch, Great Tit and
Roses.
Robin spent a couple of weeks with us
working on this large print in nineteen very
tightly fitting and precisely mixed colours. It all
went well until we had a radical change in
the weather, the humidity shot up, the paper
expanded and everything stopped fitting
together. We solved the problem and the
finished edition was a great success.
We didn’t have to wait so long at all for Robin
to come back again. It was a matter of a few
months, not years before he called about the
next print and this one was going to be so
much easier... a single layer of deep Chinese
red overlaid with Robin’s signature apple
branches in blossom made with a single layer
of gold leaf.
The simplest looking prints can be
deceptively difficult and this time the
intricacy of the work in gold leaf provided
an unexpected challenge. We may have
scratched our heads and sworn a lot at the
time but difficulties like this always teach us
something new. Thanks to Robin, we now have
an entirely new method of applying gold leaf
and another very beautiful print edition.
32
www.jealousprints.com
www.jealousgallery.com
33
TIANANMEN
SQUARE PROJECT
THIS IS THE ORGINAL PROPOSAL THAT JEALOUS
USED FOR TIANANMEN SQUARE PROJECT
BACKGROUND
Jealous is working with Fung Lam, the present
composer-in-residence for the Hong Kong
Philharmonic as part of an installation for Art 14
to punctuate this years 25th Anniversary of the
Tiananmen Square Incident.
This will be exploring the notion of protest
as entertainment. The installation and
performance will be a stylised ‘celebration’ of
this event.
PROPOSED ARTISTIC ACTIVITY
The presentation of this will be in the form of
a short piece of classical music composed by
Fung Lam and is to be performed by three
soloists on a specially constructed stage. There
will be an abrupt break and silence within the
piece to reference the media silence in China
concerning this event.
The stage will have the aesthetic of a working
Men’s Club stage. The back of the stage will
have curtains made of thin gold foil strips
with a large ‘25th’ in a red circle printed at
the curtain’s centre. At the back of the stage
above the curtains running along the top will
be written the words LET US ENTERTAIN YOU.
These letters will be spelt out in lights with
dimly lit light bulbs against a red background
and will have a faded ‘tired’ aesthetic.
We will be producing a newspaper for the
audience to take. In it there will be articles
written by curators, artists, critics and protestors
looking at ‘protest’. We will produce 25th
Anniversary red and gold star commemorative
enamel badges as part of the installation.
These will have the aesthetic of Chinese
military medals.
There will also be a limited edition print
produced by Jealous and Fung Lam illustrating
The Tiananmen Square Incident in the form of
music notation. The print is entitled Lamento,
The time signature is 6:4, the month and date
of the incident. The rest note is used to express
the silence in China over these events. This will
be as an edition of 25.
INTENTION
The Tiananmen Square project is looking
at how, by commemorating certain events
through an historical context we can distance
ourselves from a discourse that could still be
relevant.
We are concerned at how these events
once commemorated become forms of
entertainment in their own right with no
relevance to the original intention or a realistic
platform for change.
We are exploring the notion that protest has
become a sanctioned form of dissent
and how the primary intention of the protest
can immediately become secondary to it’s
aesthetic.
The Tiananmen Square project is a catalyst
for exploring the shifting perception of the
needs and desires of individuals and those of
the society in which these individuals live.
34
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www.jealousgallery.com
35
FUNG LAM
TALKS ABOUT THE PROJECT
Whilst I have been classically trained as a
musician I have been working primarily as a
composer in recent years.
Since my move to London, about 10 years
ago, I have become quite a regular at the
many exhibitions in London, I love art, and
have always had a strong interest in all things
creative.
I was first drawn to the impressive work of
Jealous Gallery at one of the art fairs I was
visiting.
Over the past few years I have gradually
come to know Dario, (the Director of Jealous),
meeting at various events
and chatting about the work of Jealous as
well as my own musical background and
desire to venture into the art world.
It wasn’t until more recently, when I noticed
that Jealous were releasing more conceptual
editions with artists, that I decided it was the
right time to share with Dario the idea for a
print, ‘Lamento’.
Using the language of music notation I
wanted to succinctly and poignantly express
the june Forth Incident of Tiananmen Square
twnty five years ago.
Listening to my concept Dario was very
moved and excited by this and so the project
was born.
This work commemorates a tragic historical
event while commenting on the existence of
censorship in the modern world.
Similar tragedies are still happening today
in various forms around the world, and public
discourse on certain subjects are still strictly
censored by related authorities.
This work seeks to promote awareness and
provoke discussion about these issues.
For the ART14, in additional to the print, we
decided it would be great to collaborate on a
stage/installation with music.
We exchanged ideas over a period of
months and then settled on the core concept
of the work.
It was decided that Jealous would work on
the concept for the stage design whilst I would
work on the musical side.
For this stage/installation I have written a
piece of music, for three soloists, constructed
mainly out of materials derived from codes
related to the event referred to in my print.
The music shifts sharply between anguished
discords and overtly cheerful melodies inspired
by the music heard in fairgrounds.
It is a response to the events of June Forth
1989, and yet is also a response to the very
aesthetic of the stage upon which it is
performed.
It is a work I am proud to have collaborated
with Jealous on, and feel it is a timely piece
in this twenty fifth Anniversary Year of these
events.
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