JEALOUS Newspaper AW15



JEALOUS Newspaper AW15
Page 3 – INTRO
Page 14 – BEN EINE
Page 21 – ART4PEACE
Page 24 – RUGMAN
Page 34 – BOYS
Page 38 – NO THANKS
Page 43 – DAVE WHITE
Page 54 – JOE WEBB
Page 62 – YEAH!
Page 66 – NICK MASON
Page 69 – EYES
Page 73 – JEALOUS AT ART15
Hello everybody and welcome to the
new Autumn/Winter edition of our Jealous
As usual, we’ll be covering the projects,
shows and editions that Jealous has been
involved with in the last few months, so firstly
a genuine and appreciative thank you to all
the gallery directors, curators, artists, studios
and indeed to everyone that has very kindly
donated their time in creating the articles for
our newspaper.
Recently, Jealous was in New York for an
art fair and I took time out to visit an old
friend and art dealer Dom Taglialatella at his
beautiful gallery space in Chelsea.
Now 75, Dom is still working full time,
successfully running his galleries in Palm
Beach, Paris and New York. Dom has spent
a lifetime dealing in Warhol, Haring,
Lichtenstein, Katz, Indiana and Koons,
amongst many others, as well as introducing
the work of a newer generation of artists to
his galleries, such as Shepard Fairey, Swoon,
Charming Baker and Banksy.
As I walked into the gallery I saw Dom sitting
behind the desk in his office into which he
welcomed me immediately. With a beautiful
Wesselmann reclining nude on the back
wall, well-fed, wearing cool, of-the-moment glasses and an
expensive tailor cut suit it’s easy to understand Dom as the
archetypal old school New York dealer. Ready to convince
you with a smooth sales pitch of the validity, historical
significance and sound investment that his works encompass.
However, what most of us forget is that beneath the suits
and the poise, dealers and gallerists like Dom, truly love and
passionately believe in the art they work with and moreover
understand it’s ability to remove us from our ‘everyday’ and
place us into an environment that explores other concerns.
We sat down for a while, drank coffee, talked shop. The
conversation turning to the proliferation of Art Fairs, to the
changing motivations of owning art and finally, as he saw it, to
the decline of the long-term informed collector, and the rise of
the short-term buyer. This was something that saddened him.
‘Instant gratification is just not fast enough these days’ he
Dom said he kept up to date with what Jealous was up to,
the editions we were making, shows we were organising and
the artists we were presently involved in. It was good to hear
that Dom felt what we were doing was valid and that Jealous
existed as a hub for artists, galleries and institutions.
Meeting with Dom and our conversation has stayed with
me and is something I wanted to share, although I’m still not
completely sure why. Maybe it was hearing Dom talking of his
life as a dealer, through the changes he had witnessed, and
the vague feeling that I was being told to do the right thing.
I do believe that Jealous is that important hub that seeks to
keep alive and move forward the notion of ‘art’ as something
culturally, and perhaps even spiritually, important outside of
the commercial pen into which it is continually being herded.
Of course we need to make money to fund our projects, as
we all do, it would be naive to say otherwise. However, we
always try to not confuse commercial viability with artistic
integrity and to make work that can be ‘more’.
Everyone that works with and within Jealous believes in
this too. In what we are building and what we are trying to
achieve. Jealous moves comfortably between printing live at
The Royal Academy with YBA artists, working with local primary
schools or the V&A, collaborating with established galleries
or making editions for international street artists. We are very
fortunate to be in this position.
And by the way, what Jealous wants to achieve is world
(in a nice way).
As usual sorry for the spilling mistakes.
Dario, Jealous Director
Earlier this year Jealous were given an
incredible opportunity to work and support
Art Against Knives, a charity that works with
youths living in areas of London affected by
knife crime and violence, as part of their The
Brighter the Better Project.
The creative minds behind charity Art against
Knives (AAK) approached Jealous Studio
back in May to produce a portfolio of ten
new contemporary print editions, for exclusive
launch in the summer. AAK is a charity that
works with youths living in areas of London
affected by knife crime and violence.
Each of the ten artists were chosen by AAK,
as representative of some of the hottest
international illustration talent currently
around. One of those included our very own
Creative Director Jess Wilson, and Jealous
Needs You 2015 artists Hattie Stewart and Rob
Flowers. They were in good company amongst
fantastic artists such as Alec Doherty, Annu
Kilpelainen, Archie Proudfoot, Camille Walala,
Lynnie Zulu, Margaux Carpentier and Poppy’s
Papercuts. The brief we worked with was that of
a digital background with a maximum of three
screenprinted overlays, giving plenty of scope
for some richly layered new prints. We spent a
month proofing and editioning with the artists
before the big release
The ten vibrant editions were unveiled at
a special launch event held by AAK, and
released online through both of our sites in July.
Founded by Oliver Hemsley, the charity
facilitates creative opportunities that focus on
giving the younger generation a voice and
a positive way to express the social problems
they face. We were delighted to have
contributed to the cause and all proceeds
from the print sales go back into creative youth
Alec Doherty - Big Chief
Hattie Stewart - Hard At Work
Lynnie Zulu - Dairy Queen
Archival Inkjet on Somerset Satin 330gsm Paper with
a 2 Colour Screenprint Overlay, 56 x 72.5cm
Archival Inkjet on Somerset Satin 330gsm Paper with
a 2 Colour Screenprint Overlay, 56 x 72.5cm
Archival Inkjet on Somerset Satin 330gsm Paper with
a 2 Colour Screenprint Overlay, 56 x 72.5cm
Margaux Carpentier - Orange Lips Idole
Poppy’s Papercuts - I Carry Your Heart
For more info visit
Archival Inkjet on Somerset Satin 330gsm Paper
with a 2 Colour Screenprint Overlay, 56 x 72.5cm
Annu Kilpelainen - Three Great Men
Archival Inkjet on Somerset Satin 330gsm Paper with a 2 Colour Screenprint
Overlay, 56 x 72.5cm
Edition of 25
1 Colour Screenprint on Somerset Satin 300gsm
Paper, 56 x 72.5cm
Rob Flowers - Shine On
Archival Inkjet on Somerset Satin 330gsm Paper
with a 2 Colour Screenprint Overlay, 56 x 72.5cm
Camille Walala - Long Life in the Sunshine
Archival Inkjet on Somerset Satin 330gsm Paper with a 2 Colour Screenprint
Overlay, 56 x 72.5cm
Edition of 25
ALL: Edition of 25 / £150
Archie Proudfoot - Her
Archival Inkjet on Somerset Satin 330gsm Paper with a Varnish Overlay,
56 x 72.5cm
Jess Wilson - Denim Jacket
Archival Inkjet on Somerset Satin 330gsm Paper with a Varnish
Overlay, 56 x 72.5cm
We completed an edition for artist and designer
Andy Spencer in a special commission for Transport
for London (TfL) in July. A typographic tribute to the
city he calls home, the beautifully clean design reimagines Milton Glaser’s iconic ‘I Love NY’. A long
time collaborator with TfL, this particular piece was
launched at Clerkenwell Design Week, and is now
available in the TfL museum. Here is what he said
about his experience of working in the print studio:
Sara Pope’s iconic ‘Lips’ editions have
been some of the most popular prints to ever
come out of the Jealous Studio. This year her
popularity has soared, with a Boxpark Pop-up,
solo show, commissions from across the globe
and even an endorsement from Pope Francis.
Sara Pope has been the name on
everyone’s lips for a while now and she
certainly had all her art prayers answered last
September. It started with her International
solo exhibition at 166a Arte Gallery in Firenze,
Italy. To commemorate this, she was advised
by her agent Daniel Syrett (Naked inc Artist
Management), to paint a portrait of Pope
Francis and he would approach the Vatican
to get it accepted into their collection.
With Pope Francis being such an important
leader of change within the Catholic faith,
plus also sharing the same name as his
Holiness, Sara Pope thought that this was a
fabulous idea.
After many discussions, emails and
telephone conversations, never mind the
levels of security to be passed, with the Holy
See and the Swiss Guard, the portrait was
finally accepted into the Vatican collection
and last September (2014), Sara was invited
to personally deliver the piece to Rome. In the
private quarters of the Vatican, surrounded by
frescos by Titan’s understudies, Sara presented
her portrait to the Pope’s personal translator
Monsignor Mark Miles.
For most artists, this would be the end of
the story, but not for Sara. Now nearly a
year on, Sara is about to be granted a full
license to put the painting into production as
a full colour print with worldwide distribution
rights, with part of the proceeds going to the
Vatican’s chosen charities.
In July, to promote this, Sara held a ‘POPe
Up’ Store at BoxPark, showing a selection of
works including her Lips series, a new neon
light piece, as well as her Pope Francis portrait.
The show was a great success, with her work
being on display upstairs at BoxPark for the
Sara’s work is available in several galleries
in the UK (including Jealous Gallery), Italy and
Jealous Gallery are delighted to be showing
Natural’s Not In It, the debut solo exhibition
from Royal College MA Printmaking
Graduate, and Jealous print technician,
Danny Augustine. The roles of desire,
lust and sexuality throughout art history
are explored and re-examined through ten
large-scale screenprint editions, each just a
limited edition of two, Henry Eigenheer offers a
deeper insight into the show.
The works produced for Natural’s Not In
It reshape our understanding of classical
works, creating a new perspective within
which art history can be read. Long
established canons have formed the
basis of our judgments of beauty, often
depicting images or scenes drawn from
mythology, said to contain a moral
truth. The original aesthetics, significance
and purpose of these works have been
reappropriated over time to adhere to
religious and political ideals.
Augustine’s practice is a distinctive
screenprint method, actively allowing for
and encouraging the work to change
and develop throughout formation. This
method allows for Augustine to build fluid
layers, incorporating paint, photography
and drawing into the final image. By
engaging in a dialogue with his source
material, Augustine allows new narratives
to emerge.
“A lot of screenprinters today finalise
an image on Photoshop, before work is
created, then break it into colours and
print it. There isn’t anything wrong with this
method of printing but it can restrict any
sense of experimentation and exploration
of the piece in question. I find it quite
difficult working in this way because
once the image has been created and
finalised on the computer screen I instantly
lose interest and become disheartened
by making something I’ve already seen,
almost like being told what happens at
the end of a book,” says Augustine. Using classical works from antiquity as
his source material, Augustine examines
art’s role in the development of culture
and ethics. The works highlight how
misinterpretation has lead to a confused
and conflicted framework on which
moral judgments have been forged.
Through the alteration of classical imagery,
Augustine offers a more literal and
relevant rendering of beauty and desire
for the modern audience. Experimenting
through print, Augustine creates a new
visual language, shifting the work’s original
context via repetition and exaggeration,
enforcing images of the idealised human
form onto the viewer. His expressive use of
colour makes light of the original image,
demonstrating the malleable nature of an
artwork’s meaning. The bold palate and
broad lines reveal the vital role played by
Pop Art, doing away with previous dogmas
surrounding classical works, by highlighting
the art of the everyday.
This new selection of works reflects
a pivotal point in the development
of Augustine’s artistic practice and
investigation of human relationships. His
print technique allows him to escape
the parameters of print, and enter into
a discourse with the reproduced image,
creating a visual dialogue between the
machine, art history and the individual.
The works exist as a result of Augustine’s
continued investigation into the human
condition, offering a new vision of classical
beauty and morals in a contemporary
For more info and a list of works please
contact [email protected]
Jealous East: 1st-4th October
Jealous North: 15th October - 15th November
Jealous once again packed a van load of
goodies and joined the Art Car Boot Fair in
Brick Lane, London, for the 11th edition of the
very unique, and slightly bonkers, event. Not
content on one installment, we joined the tour
and headed down to Margate in August to do
it all over again.
Armed with brand excluisve new releases
from Rugman, Joe Webb, Danny Augustine,
Charming Baker, Ben Eine, Adam Bridgland,
Static, Dave Buonaguidi and Russell Marshall,
(phew!) we were flooded with eager booty
buyers! The Charming Baker special ‘Gone’
edition sold out within the first hour, a beautiful
new golden colourway released especially for
Ben Eine’s C & B (for Car Boot) printed flew
out from both the Jealous and Moniker stands
with collectors of the co-published Alphabet
series eager to get their hands on the next
The fair was filled with excitement as fellow
booters (including Polly Morgan, Gavin Turk,
Tracey Emin, Bob & Roberta Smith and many
more) released their extra special editions for
the one day only event.
In August we ventured down to Margate for
the second Art Car Boot of the summer, joined
by the likes of Vic Reeves, Emin International,
Jess Albarn and more, we set up our stand
alongside Turner Contemporary, right on the
sea front. Despite the wind, the sun shone
down on us all day and we were swarmed
with Margate booters looking for a bargain!
The highlight (as always) was Tracey Emin’s
raffle and her amazing skills of getting a crowd
truly excited and chanting along with her!
A huge thanks, as always, to Art Car Boot
founder Karen Ashton for letting us join in with
the fun, and for her amazing organisational
skills! An extra special thanks to all those that
came and visited us at both outings, roll on
next summer, beep beep!
To keep upto date with next years’ events,
keep an eye on
Jealous has worked with light artist Chris Levine on a
number of editions, here he talks about the inspiration
behind his most recent print series.
Crystals are at the core of a lot of the light
installation work I do and I’ve been fascinated
by them since a kid. The geometry of crystalline
structures inspired my last show The Geometry of Truth
at FAS and for this series it was all about the graphic
and dimensional nature of crystal and the light factor
expressed by creating a new vibrant fluorescent
palette. These prints really sing at dusk when there is
a high level of UV in there ambient light. The fluoro
colours were special blends I made with Jealous and a
twist away from normal fluorescent hues.
For five years we have been working with
Moniker to produce live print editions as part
of the packed programme at the show,
featuring some of the best urban-inspired
talent and headliners of the fair. This year
we have decided to make the Jealous/
Moniker partnership official, with the new JaM
branding and logo stamp. Look out for new
releases from Inkie, Ashes57, Kid Acne and Jon
Burgerman, the final layers of which will be
printed and signed live in the newly christened
JaM studio at Moniker Art Fair, 15-18 October,
Truman Brewery, London.
Ashes57 - A View From the Ace Hotel
3 Colour Screenprint on Somerset Satin 300gsm Paper
55 x 75cm
Edition of 45
Jon Burgerman - Can Man
4 Colour Screenprint on Somerset Satin 300gsm Paper
55 x 75cm
Edition of 45
Inkie - Love Is A Feeling
Kid Acne - You and Me Both Mate
4 Colour Screenprint on Somerset Satin 300gsm Paper
55 x 75cm
Edition of 45
3 Colour Screenprint on Somerset Satin 300gsm Paper
55 x 75cm
Edition of 45
This year’s Art Car Boot Fair, Brick Lane, saw
the launch of two more letters from the Ben
Eine alphabet series, published by Jealous and
Moniker projects. Following suit, each letter
was available in three colourways, each an
edition of 125. Despite the weather, the ‘C’
and ‘B’ for “Car Boot’ went down a storm with
collectors and new customers alike, and once
again sold out proving the success of this series
continues in to letter five. The letter ‘J’ in Eine’s
signature circus font will be available from the
opening night of this years’ Moniker Art Fair and
will go hand in hand with our official launch
of JaM editions, as a show of our continuing
This October Moniker will be the first art
fair to accept Bitcoin as payment, and
will be featuring a giant 50ft installation
inspired by what Moniker describes as “the
solutions offered by global connectivity,
decentralisation and collaborative
consumption.”. Curated by Moniker Projects
and supported by Kaspersky Lab, the
monumental piece is set to feature integrated
artworks from Schoony, Kid Acne, Ben Eine,
Toonpunk and more. TOONPUNK tells us more
about Bitcoin, and his motivations for taking
part in the piece.
I was introduced to the Bitcoin community
a little less than a year ago in a bar in
Shoreditch. I’d heard about bitcoin but
didn’t really understand it. I was invited as an
artist, to be involved in a project to promote
bitcoin through the arts. Geeks and hactivists
sat around talking about bringing down the
banks, eradicating poverty and changing
the world, as I listened to the practicalities
and potential for this new cryptocurrency I
became intrigued. Satoshi Nakamoto, a ghost
in the machine had invented the technology
and then disappeared, untraceable. This was
obviously no ordinary tech development.
Nakamoto knew that what he was doing had
the potential to take away the power from
those who have abused it and therefore was
a target. So he remains a mystery, clouded in
secrecy and speculation. This was sounding
like a sci-fi movie, but, after several hours
of listening to bold statements and future
predictions I felt I needed to do my own
research. Later that night I googled Bitcoin and the rabbit hole
opened up before me.
After a couple of months of reading articles, watching
documentaries and following the sub-reddit/r/bitcoin
obsessively I felt I could hold my own in a bitcoin debate. I
had a rudimentary understanding of the technology as well
as the community and could see where the potential existed
to “change the world”. I also saw that the community was as
volatile as the currency itself, and so I focused on how, as an
artist, I could use bitcoin practically, right now.
From an artists perspective Bitcoin offers new solutions for
old world problems as well as inspiring a new approach to
the appreciation of art. The buying and selling of artworks
on-line is simplified by the existence of bitcoin, with bitcoinonly galleries popping up as well as artists taking control of
their own businesses. Physical galleries are also finding benefits
in accepting bitcoin, the ability to accept large payments
instantly with no fees being the most obvious advantage. The
new technology also gives way for new ideas such as Change
Tip, who have linked with social networks to allow users to
tip creative content using bitcoin. The ability to send micro
payments for the art and music we enjoy, with no fees, could
revolutionise the way artists finance themselves in the future.
By far my favourite combination of art and bitcoin, is a
project being implemented across Europe by MYFINEBEC.
Street artists are painting portraits of homeless people in the
place they sleep and a QR code is put along side. The QR
code allows you to watch a video of the homeless person
and understand their plight as well as donate bitcoin directly
to them. With projects like this I can see how bitcoin is already
having a positive effect on the world. The limit of how we use
this technology is our own imaginations, and, as artists are the
real architects of change, it is important that we lead the way.
Come and view Toonpunk’s work alongside other’s at the
Bitcoin installation at Moniker Art Fair, 15–18 October.
Jealous are proud to be showing Anything Goes, an
explosive group show from Jess Wilson, Kate Gibb and
Mr Penfold. The three well-established illustrators and
printmakers are brought together by their fascination
with colour and practice of ongoing experimentation
with form. A mixture of print, paint and sculpture, the
vibrant works will be on display at Jealous East from
October 18th, before heading over to Jealous North in
“For this show I have extended my ‘paper study’
series and have produces a small collection of
‘Jealous Studies.’ these are works on paper that
originally started out as warm up paintings, but now
are more of a finished product. They all carry on with
my exploration into the abstract side of my work,
focusing on colour and the relationship between hard
and soft lines within the composition. “
“All of my artworks for Anything Goes were printed
here, at the Jealous Print Studios.
Previous to this experience I predominantly worked
solely on one-off pieces. Editions weren’t my thing!
Being creatively authentic is important to me.
Something would shift when attempting an edition..
the final results would seem lacklustre in comparison to
the original.
On discussing my practice with Dario we came
up with the idea of making a set of editions that
comprised of say twenty or thirty variations, of a
chosen theme.
Each print within the edition is unique but the
imagery / physical screens employed to create it
remain the same.
Through play and experimentation with colour,
composition, layering, opacity and with an unhealthy
regard to chance / happy accidents (!) a series
of works formed that adhered to my creative
prerequisites, allowing each piece to remain original.
This formula was initially executed on the series of
prints (currently exhibited at Jealous Gallery) involving
a studio shot of a young Mick Jagger.
Since then new imagery has entered the equation..
the resulting editions are on view here, where quite
literally anything goes… “
Jess Wilson is an illustrator and printmaker who lives
and works in London. She is well-known for her map
work, among her endless talents. Maps provide Jess
with the perfect template for her experimentations
with pattern-making and line work, whilst using her
love for text in a very factual, functional and yet very
personal approach.
In ‘drawing’ her maps Jess allows herself to look
around a city, to revisit and draw certain areas where
she has been, illustrating amusing tit bits, moments
and adventures from areas she has remembered. In
their own way these illustrations represent a personal
and private diary hidden within the open and easily
understood format of a map. This approach is echoed
across all of her works, playful and perceptive, with a
keen use of colour. The show will feature an array of
print and scultpture works, old and new.
In March this year, artist Cedric Christie
introduced us to UpDown Gallery for a
collaboration that saw Jealous co-curating the
eclectic ‘Club Banger’ show in their Ramsgate
Space. Updown Gallery’s Kate Smith explains
how it all came together.
April saw the release of Cedric Christie’s
first series of screenprints with Jealous Print
Studio; Icons & Medals. At the same time ‘A
Massive Retrospective – Up to Now’, featuring
the new works, opened at the Sidney Copper
Gallery in Canterbury.
To celebrate both exhibitions, UpDown
Gallery invited Christie and fellow artist Pascal
Rousson to curate a mixed exhibition to run
concurrently. It was also the first time UpDown
Gallery had collaborated with Jealous.
The new series of prints ignited in Christie a curiosity into the
wide range of processes behind the making of artwork. How
a media, process, material or technique can influence the
surface and therefore the reading of the piece of work.
CLUB BANGER saw the collaboration once again of Cedric
Christie and Pascal Rousson. Having worked together on a
number of co-curated exhibitions, their different perspectives
constantly challenge the others, making for an exciting and
dynamic conversation.
Alongside a selection of artists from the Jealous Gallery
stable, the duo invited artists working in film, photography,
music, print, performance, sculpture, 3D printing and textiles
to contribute a work that highlighted the importance of the
process to the final outcome of the piece.
The exhibition was very well received and one of the most
popular shows at UpDown Gallery to date in 2015. So popular
were the works from the Jealous Print Studio that UpDown
Gallery is planning once again to work with Jealous to put on
a Christmas print exhibition.
Kate Smith - Director, Updown Gallery
More details at The gallery can
also be followed on Facebook and Twitter @updowngallery
In September, ten Jealous artists past, present and future took
part in Art4peace at the House of Vans, by Waterloo Station in
London. The event was part of the month-long Talking Peace
festival organised by International Alert.
Curated by Jealous studio manager and artist Adam
Bridgland, the brief was to create work inspired by the theme
‘peace in our cities’. For six hours the artists painted live in
the House of Van tunnels as passers-by enjoyed the creativity
taking place. At the end of the day, 10 very individual works
had been created. The works were exhibited for the remainder
of the Peace Festival in September for other visitors to enjoy.
Following this they are now being prepared for auction later
this year, with all proceeds going to International Alert. The
other artists involved were Paul Beers, Melvin Galapon, Butch
Gordon, Fiona Grady, Adam Koukoudakis, Paul Schneider, Ben
Slow, TEZ and T_O_W_E_R_S.
For more info visit For artist print
editions from those involved visit
The amazing Russell Marshall has been back
in the Jealous studio producing an iconic
edition featuring one of the greatest music
legends of all time. Beautiful Crime are set to
launch the print in a week-long bed-in at a
recreated ‘Suite 1742’ of the Montreal Hotel, in
tribute to John Lennon and Yoko Ono’s famous
stint. Russell Marshall explains.
If you were to compile a top ten of iconic
photographic images, Bob Gruen’s portrait of
John Lennon on a rooftop wearing a New York
City T-shirt would be pretty near the top.
To me, that image is the first thing that comes
to mind when I think of Lennon.
I contacted Gruen at the start of the
year to see if he would agree to license the
photograph to me for a print edition. He asked
a few questions and then said that he’d be
happy to - just as long as I squared everything
with the Lennon estate.
At this point I thought the project was dead
in the water. But Gruen’s people introduced
me to the New York law firm who represent Yoko Ono Lennon
to discuss terms and we struck a deal.
I wrote contracts for both parties - basically outlining my
intensions, edition size, print size that sort of thing - and faxed
them over. Later that night I received a copy of that contract complete with Yoko Ono Lennon’s signature.
Bob provided me with a high resolution file of the photograph
and I sat down to work out what I wanted to do with it.
Now, it’s one of the world’s greatest rock ‘n roll images
visually and technically the quality was superb.
Where do you start, when quality and content already score
ten out of ten?
One of the few things that I could add was scale. It was
always my intention to make the print large, very large.
Everything about that image is larger than life so I felt the
print should be too. And Lennon was larger than life himself
and I felt he deserved to be portrayed that way.
Scaling up the image to over a metre in size was fairly easy
- owing to the quality of the source image. I gave the artwork
my trade mark half-tone effect and we proofed. But I wasn’t
happy with it. Something wasn’t quite right.
So I started again. I don’t like to over retouch an image, but
I realised that because the print was so big, and the
half-tone dot size was so large, I was losing a lot of
detail from certain areas.
I broke the picture down into different areas of
texture and detail and started to treat these areas
different in terms of contrast: the hair, the arms, the
necklace John is wearing. The necklace was a detail
I’d never noticed before, but now - with John almost
twice life size - small details like that and his belt buckle
were standing out. Finally happy with the “artwork” my
next choice was colours. I was in two minds: to go ‘off
the wall’ bright, or choose a more subtle approach.
So I booked studio time with Jealous, and Jess Wilson
and I set about proofing a dozen or so colourways.
A few days later I met up with Westie from Beautiful
Crime - to look at the proofs and to make a decision
for the edition. It came down to two: cyan on fluro pink
and dark blue on pearl We went with the dark blue
on pearl. It’s very subtle, but adds colour while staying
faithful to the mono original. Plus it gives the image a
modern look with a retro feel. Part of the agreement
is that Yoko Ono Lennon and Bob Gruen each get a
copy of the print. I’m giving number 1 to Yoko.
It just seems fitting that number 1 of 25 goes “home”
to New York, where the image was taken. Possibly
even to live in the Dakota Building? Another condition
was that wherever possible I credit Bob Gruen as the
photographer and thank Yoko Ono Lennon for her
kind permission. Hardly a tough ask! I’ve really enjoyed
the whole project, and everyone involved has made
this incredible experience go extremely smoothly.I
accept that Bob and John are the major talent behind
this production: I look at this work as my tribute to two
amazing artists. We’re launching the print on October
9th, on what would have been John’s 75th birthday.
Russell Marshall - Artist
Lennon - 1974
Two Colour Screenprint on 400gsm Somerset paper,
144 x 109cm, edition of 25, £1500
Available exclusively through Beautiful Crime
Anthony ‘Rugman’ McEwan is a Londonbased artist and illustrator. He has been
painting and creating full time for the last 16
years - recently exhibiting in the UK, Europe
and USA and starting up Rum Knuckles Design.
Here he tells us about his new print release, the
latest in his Iconink series, in collaboration with
Saatchi and Jealous Galleries.
I first teamed up with Jealous a few years
ago and in the past year or so I’ve been
working more closely with their amazing team
in the new Jealous Print Studio in Shoreditch.
My art is born of the black line. Good old
pen and paper - all I need is a black biro and
fine liner, some A4 paper, and I am off! I will
happily spend hours and days on drawing and
re-drawing, getting the line work right.
My main paintings are made from handpulled silkscreens or from hours and hours of
hand-cutting stencils based on my line work - I
love the end result, crisp and clean. Then I
add bold colour, which marries beautifully with
that clean crisp black line work.
The Iconink series started with a simple
concept of looking at our most famous
people, for example HRH The Queen, and only
using the minimal lines needed to make their
image recognisable, leaving as much of their
face as possible a blank space which I can
then “deface” with symbols such as classic
tattoo art instead of features, almost like a
tattoo flash sheet. Symbols are important
and instinctive to human beings - they are
visceral. I hope that people will feel that in
their gut when they look at my art - I want to
stimulate feelings and instincts, and to see
how the viewer accepts our cultural icons
being covered in tattoos and symbolism,
transformed. This runs through my art and is
very much alive in this series with the gold leaf
halos of ancient icons giving them a higher
godlike status.
The team in the Jealous Print Studio translate
my work into beautiful prints - they’ve got
superior skills, techniques and finishes. I was
especially impressed with their gold leaf and
their grasp of colour. I get really excited when
I’m asked to join the print team in their studio
to review my print proofs - they’ve blown
me away and really augmented my work.
It means a lot to me as an artist who works
alone, to have a team like that working with
Rugman - Artist
For all of Rugman’s Iconink print editions visit
Please tell us a little bit about how you got to where you are
today as an artist?
I am a graduate of the Royal College of Art, London. Since my
graduation in 2006, as well as managing the Jealous Print Studio,
I have exhibited widely in the UK, America, Europe and Asia. The
British Museum, the V&A, UBS, Boeing Asia and Debbie Harry are
just some of the collectors of my work. In July 2009 I was awarded
my first major public art commission by Commissions East and
since then I have gone on to complete a number of important
projects, including work for YouTube, Heal’s, International Alert,
Jacuzzi and Eastern Pavilions.
Please describe the process you use for creating street pieces.
My ‘Eyes’ were my first major street piece. I have been looking
to create a large-scale mural for some time and the Jealous
rooftop was the perfect location. Positioned in the heart of
Shoreditch overlooking the City of London, the eyes gazed upon
the changing city skyline. Nick Terry (Tez), curator of the Jealous
rooftop project, kept pushing me to complete the work and I am
so pleased he did. Creating large-scale stencils for spray paint,
the piece pushed me out of my comfort zone, an artist should
always be testing himself and this piece did.
What is the inspiration behind the image seen in your Jealous
rooftop mural?
My inspiration for the piece were the various cartoon eyes that
dominated my childhood. I have always been a huge fan of
Looney Tunes, computer graphics and the larger than life eyes
that often define each of these characters. The work was my
reaction to this, my attempt to create an iconic graphic set of
eyes that watched over you.
In what ways do you feel your street artwork can relate well to
the print process and working with Jealous?
The wall piece was a continuation of a series of eye prints I have
completed over the year with Jealous. I hope that the wall piece
will inspire new works in the coming year. The mural has certainly
expanded my practice and taken my current artistic ideas in an
exciting new direction.
Please tell us a little bit about how you got to where you are
today as an artist?
I started doing graffiti when I was 13, but quickly realised that
letters and tags weren’t really my thing. From there I went on to
experiment with portrait-based pieces and began developing
the style I have today. My interest in graffiti and street art led to
me looking at different types of art and I started creating work
on canvases, combining the influence of street art and more
traditional painting techniques. I now work from a studio in
Hackney Wick creating work both on the streets and on canvas.
Please describe the process you use for creating street pieces.
My street pieces usually start from selecting a photo that will
work well with the wall I am working on. This means taking into
account the size of the space, it’s shape, texture and any limiting
features. For the Jealous wall I had to take into consideration the
fact that I was painting partly over a door and wanted to choose
images that would fill the space, but not have the main details
distorted by the door. I decided to create a painting depicting
two striking portraits. I wanted to create portraits that worked well
viewed individually and as a whole. I built up layers of colour for
the background using spray paint, before painting in the details,
using acrylic paint and brushes.
In what ways do you feel your street artwork can relate well to
the print process and working with Jealous?
I’m hoping to work with Jealous to produce a print later in the
year. I’m looking forward to facing the challenge of transferring
the layers of colour, and the details in my paintings to print form.
The print process will let me experiment with adding more layers
to my work. I think the combination of monochrome portraits
on multi-coloured backgrounds should translate into interesting
Please tell us a little bit about how you got to where you are
today as an artist?
I am an illustrator and artist based in the UK who has been
working under the name of Neasden Control Centre since 2000.
My illustrations, type and installations have been commissioned
by a diverse range of international clients from graphic design
studios, advertising agencies, publishing houses, interior design
studios and directors working on animation projects.
I have published two monographic books with Gestalten, as well
as contributing to many group publications most recently The
Age of Collage Art, Contemporary Collage in Modern Art. I have
exhibited my work internationally including at More with Less MU,
Netherlands, Now Jump! at Nam June Paik Centre, South Korea
and Spank the Monkey Baltic Centre for Contemporary Art, UK
where I was one of three UK artists selected alongside Banksy and
David Shrigley. In 2011 I was invited as artist in residence with the
Unknown Fields Division (Architectural Association) on a field trip
to Chernobyl, the Aral Sea and Baikonur Cosmodrome (Russian
Space Centre).
I continue to lecture, lead workshops and present my work at
universities, institutions and conferences including the SemiPermanent Conference in Los Angeles and Portland and
Pictoplasma in Berlin. In 2014 I was invited to lead and run a
workshop to BFA Graphic and Illustration students at Calarts
/ California Institute of the Arts in Los Angeles and at the
Manchester Metropolitan University in co-ordination with the V&A
and Peoples History Museum.
What is the inspiration behind the image seen in your Jealous
rooftop mural?
My work is heavily influenced by formal abstraction and a
combining of media with elements and motifs that I have
developed within my work sequentially over the years.
Part of these motifs stem from my love of mid century
architecture and forms developed during this period
which can be seen in the design of my rooftop.
In what ways do you feel your street artwork can relate
well to the print process and working with Jealous?
I have been working in print for many years as a
freelance illustrator and the original sketch for my Jealous
rooftop was edited as a print at the outset, as this is the
way it in which I usually work. Having also published books
with Gestalten the process of turning my work into print is
integral to my practice.
Please tell us a little bit about how you got to where you
are today as an artist?
I have been an artist since 1995, working mainly with oil
on canvas. I moved to Shoreditch in 2006 to work as an
architect but I lost my job because of the Crisis in 2009. I
then began working as a part-time lecturer at South Bank
University and this is when I started painting on the streets.
People started to recognise my work, so I continued.
Please describe the process you use for creating street
First I do an A2 sketch and scan it before overdrawing
digitally and laser-cutting stencils. I then paint it on the
streets and canvasses. I often jump a stage and paint
it straight on to the wall from the sketch, depending on
time and budget.
In what ways do you feel your street artwork can relate
well to the print process and working with Jealous?
In many different ways as Jealous’ facilities allow for so
many original options. I’ve been really impressed by the
studio and happy to have worked with Jealous in helping
my art go further.
If you would like to see your work
sitting atop East London please send
a proposal to [email protected]
The wall is 6.8 x 2.3 metres and involves
circumnavigating a door!
Please tell us a little bit about how you got to where you are today as
an artist?
I always had a strong passion for painting and I started writing my
name in ’93. My compositions are based on the “wildstyle”. I began
with classical letters and outlines, painting different fills on walls and
steel. I then attended an Italian art school to study architecture and
the 3D switch in my work was immediate. From then my style has
evolved from a more “funky-graffiti-style” to a more abstract work.
Letters are always there, even if unreadable.
Please describe the process you use for creating street pieces.
I guess every writer does the same: I’m constantly walking and looking
around for the right walls to paint. I like to be precise so I take pictures
of the wall so that pieces become site specific. This allows me to study
the urban surroundings, understanding where the sunlight comes
from and where the shadows should be. Sometimes I draw on paper,
sometimes digitally. I use three different styles for my pieces: cubes,
broken cubes and broken shapes. I choose which style suits particular
walls and their surroundings.
What is the inspiration behind the image seen in your Jealous rooftop
I wanted to give the impression that the cubes in this piece were
coming out from the wall and the orange ones are the warm light of
an incandescent piece of steel. It’s a “cold piece” because of the
grey colour scheme, but if you touch the orange ones you will get
burnt :).
In what ways do you feel your street artwork can relate well to the print
process and working with Jealous?
Jealous is a big happy family that loves what it does. Everyone is very
passionate with a good eye for detail. I like the fact that a street art
piece born on the rooftop is also available at the gallery as a print,
accessible to everyone. The drawing keeps a street art concept but it
has been especially developed for the printing process.
The challenge of this was producing very thin lines by hand with no
digital process involved. Made with passion and love, this is what
makes the print more genuine and handcrafted.
Adam Bridgland -
Ant Carver -
Neasden Control Centre -
Otto Schade -
In August we welcomed artist Lucas Price
in to the Jealous studio to help him complete
several large scale works for his solo exhibition
‘Dumb Poetry’ at Lazarides.
Master printer Matthew Rich placed
large colourful overlays of text on to Lucas’
beautifully painted original works before they
were stretched for display. Lucas enjoyed his
time in the studio saying “Jealous are really
good at what they do….they helped me
destroy my own work in the most beautiful
way possible.”.
Jealous North has been working with
local Crouch End school, Rokesly, since we
first opened eight years ago. With special
exhibitions of the children’s artwork, to a
Jealous organised protest in the playground,
we have provided the kids with a deeper
knowledge and understanding of the art
world and screenprinting techniques. We
hope to inspire the next generation, to be
rule breakers, to think outside the box and
outsmart us all!
Most recently, we invited Rokesly back
into the gallery for our annual local school
partnership, for a printing workshop, and to
host the childrens’ works in their very own
Jealous exhibition.
We chose the theme of National Heritage
plaques (followers of Jealous will remember
our rather risqué Dave Anderson satire
plaques) and we handed the school a
number of screenprinted blue plaques, for
the kids to fill in as they wished. Once back
at the gallery and hung, we invited the kids
back to the gallery for their very own ‘private
view’, with ‘wine’ (apple juice and
ribena) and a live screenprinting
demonstration. As ever, it was an
absolute joy to have all those very
excitable pupils in the gallery and
we look forward to next years’
Rokesly teacher Miss Sabla
said: ‘Year 5 pupils at Rokesly
Junior School enjoyed a fantastic
opportunity this summer when they
got the chance to have their own
blue plaques put on display at the
Jealous Art Gallery. The possibility of
becoming the next Van Gogh was a
huge thrill and they worked tirelessly
to produce some amazing art
work. The pupils were also fortunate
enough to be given a tutorial in
printing by the gallery owner Dario,
who allowed each pupil to produce
prints of their very own!’
Hello my full name is William Timothy Edward Kingett
I work at jealous and have done just over 4 years, it is great, I
get to do what I love In a great space with great people and
make art when I want, well when I can.
Being here means I get to be surrounded by art, creatives
and their practise, which rubs off and helps me to produce
new ideas. If I wasn’t here my work wouldn’t be what it is and
therefore I am part of the machine, which is jealous.
My work is process driven; I’m passionate about typography
and illustrated iconic popular culture, lost images with
new understandings and trying to provoke feeling through
sometimes seemingly confusing links.
As a viewer, participant and collector of my own memories
I selectively use these constructs as referencing distillations to
create new informed patterns of discourse.
As Banksy’s Dismaland is packed up and dismantled
following a memorable run on the Weston-Super-Mare
seafront, Jealous artist Tinsel Edwards explains what it was like
being asked to partake in an exhibition from one of the world’s
biggest artists.
Earlier this year Banksy contacted me to ask if I wanted to be
in a show he was organising. He said he really liked my work
and had been following it for a while, wanted it in the show,
and that the whole thing had to be top secret.
At first I read it and re-read it in utter disbelief! Then I ran
around the kitchen in excitement before replying to say I
would love to contribute. I had a few months to make something new for the show,
and I decided that I had to create my most powerful artwork
to date. So, after setting myself that (simple) brief I got to work.
Following on from the paintings I have been making about
the housing crisis in London, I continued with this theme for the
Dismaland work. I created my own versions of estate agent
signs, subverting the familiar branding and replacing the sales
text with genuine stories describing people’s experiences
relating to the housing crisis. An infestation of bedbugs that
the landlord won’t deal with! Friends and families being priced
out and therefore marginalised from the communities they are
familiar with….
The first step was collecting existing estate agent signs, over
40 of them, all sourced from local bushes and bins. I then
created new and more truthful designs, screen printing in
2-3 colours over the existing designs. Following that I painted
into them using acrylics. I wanted them to have a more
guerrilla, homemade and individual aesthetic. I used motifs
such as tears, hearts and broken hearts, childlike drawings,
and incorporated the references which feature in my bedsit
paintings: the bare lightbulb, old mattress and toilet. I also
painted patterns inspired by William Morris designs, a nod to his
socialist activism in later life. I like to include a symbol of hope
in my artwork, especially when the subject matter is bleak, so
for some of the signs I appropriated the ‘lightbulb eye’ from
Picasso’s Guernica.
Now that the signs are installed in the activist tent at
Dismaland, I’ve had some time to reflect on an intense and
incredible experience. It’s an astonishing exhibition and an
absolute honour to be a part of it.
Tinsel Edwards - Artist
For more of Tinsel’s editions visit
Jess Wilson -
This year we spread our Jealous wings out
to Europe by driving (17 hours in one day!)
to Munich for Stroke Art Fair. Stroke is a trade
fair for unconventional art located by the
river in the Praterinsel, a former distillery,
which regularly holds art events. Local and
international galleries combine to show a mix
of street art, photography and installations
along with a program of live tattoos, paintings,
lectures and concerts.
Louise and Nick were joined by Jealous
bessie and artist, Rowan Newton, who helped
with the hanging of the stand and provided
excellent refreshment deliveries!
Despite the rain, the private view saw hords
of art lovers (and even a few familiar faces!),
while we tried our best German out on willing
Highlights (away from the Jealous stand)
included a large Herakut installation,
canvasses by Mad C and live painting by
Rone, among many other talented artists.
It was great to show our range of artists to a
new crowd who were, in many cases, new to
the screenprinting process and to meet other
galleries who share our passion for exhibiting
exciting artists.
We also took along original paintings, a rarity
for us, by Ashes57, Adam Koukoudakis, Inkie
and two spectacular pieces by Ben Eine.
Thanks to everyone who came along, it
was incredible meeting new friends and
converting new Jealous fans!
And here’s a word from our Stroke wing man,
the hugely talented Rowan Newton:
‘There is a great family feel at the Jealous
towers. While they do work very hard to
produce the best prints, they’re are always
a good laugh to be around. Having known
Louise and Nick for a few years now, I was
really looking forward to the opportunity of
spending more time with them outside of
the studios; the chance to see more of the
business side of things, as well as hanging out
with them socially after work. As soon as we
arrived it was straight down to business. It was
fascinating to watch them work so smoothly
together, from the clock-work precision with
which the pair unwrapped and hung the
art work, to seeing them in action with the
customers, to learning the finer details of the
business, as well as the art fair tricks of the
trade (they’re top secret, so I can’t tell!). As
for me, the opportunity to meet potential
new buyers, collectors and fans of the work
was a great thrill, as I always enjoy talking
about all things art. Also having the chance
to thank those personally, who support not
just myself but the whole Jealous family in our
quest to deliver top quality prints. On top of
that we even managed to sneak in a couple
of beers after work. So all in all a thoroughly
enjoyable weekend.’
Visit for more info.
As a resident of the first floor at Jealous Towers, artist Jacky
Tsai has been working on a number of editions in the Jealous
Studio, to form part of his new solo exhibition Future Past at the
Fine Art Society (FAS). Lee Cavaliere of the FAS talks about the
We are currently hosting the first solo exhibition of Jacky Tsai
at the Fine Art Society on New Bond Street.
Tsai’s work is concerned with the complex relationship
between the cultures of East and West; the clashes, the
similarities, the love affairs, the fall-outs. He uses ancient
Chinese artisan craftsmanship as a means to communicate
these ideas; pieces made in lacquer carving, cloisonné,
porcelain, and Su Xiu embroidery. The works are painstakingly
handmade using 2,000-year-old techniques, many of which
are dying out as modern China exchanges traditional
craftsmanship for mass production, a reverence for history with
an obsession with the future.
The artist depicts scenes in which characters from Chinese
mythology battle it out with Western superheroes. On the
surface the scenes are absurd or paradoxical, but probe a
little deeper and they reveal a sharp wit and cutting political
satire. Tsai is also not afraid of beauty; his
embroidered floral skull is rich and luxuriant,
and achingly beautiful.
Tsai has a striking dedication to his work
and to the processes and history they
represent; his work makes reference of
course to Rauschenberg and Warhol, in the
subversion of ideas of mass-production and
the democracy of art. But more than that,
Tsai is unafraid to approach other commercial
outlets, creating works in fashion and working
with luxury brands such as Shanghai Tang.
The exhibition attempts to present the range
of this remarkable artist and his continued
exploration into the nature of art, heritage and
Lee Cavaliere - Director, Fine Art Society
We welcomed back Dave White to the studio
over the summer to work on the sister print to the
original Stag screenprint we completed earlier in
2015. Here is what he had to say about his return
to Jealous.
Over the past year I have commissioned Jealous
Print Studio to produce three full silkscreen
Diamond Dust editions of my oil paintings. The
team and especially William, have expertly
captured the vast and complex surfaces of the
originals reproducing perfectly the subtlety and
texture of the brushwork. Some editions have
ended up being made of 36 individual screens, in
order to capture the desired effect.
From overseeing the development of the
edition, to signing, a visit to the Studio is always a
pleasure and I relish the organic and incredibly
professional service the team offers from the
initial meeting, to the arrival of the finished
edition. From start to finish Jealous Studio offer a
superb experience and each edition comes out
superceding my expectations.
The latest edition, Stag IV Diamond Dust, is
the final release from the Albion collection and
Jealous have created a beautiful work which not
only compliments the original, but also stands
alone as an entity in it’s own right. I can’t wait to
get back to the studio with the guys to talk about
the next project!
Dave White - Artist
Back at the start of the year we began
working with artist and sculptor Cedric Christie
on two series of print editions. The medal
portfolio was based on his snooker ball
sculptures, which have been on display as
part of Christie’s solo-show at Flowers Gallery.
Victoria Mendrzyk’s explanation gives an
insight into the original works.
In Cedric Christie’s current exhibition at
Flowers Gallery, When Colour Becomes a
Beautiful Object And an Object Becomes
a Beautiful Colour, the artist has arranged
a series of wall-based sculptures in such a
way that they draw an invisible line in the
space. Expanding on his previous exhibition
at Flowers Gallery, When Paintings Collapse,
You Have Beautiful Sculptures, the sculptures
not only interact with each other but also
challenge the surrounding architecture.
Each artwork is made of seven snooker balls
built into a stainless steel channel. When I
first saw them in Cedric’s studio, they were
meticulously arranged according to type:
as monochromes, or those housed in black
or white steel. So I expected Cedric to hang
them in series, orderly and harmoniously. But
Cedric is a chess player and always surprises;
he decided to display them randomly, so
that each colour confronts the other, fighting
for its presence and creating unexpected
clashes and synchronizations. My favourite
juxtaposition is probably Black and Yellow next
to Black and Purple; those complementary
colours always evoke to me a late evening
sunset, but I also like the clash between Red,
Black and Pink in the window, because it
reflects so much of Cedric’s joyful character
and jubilant sense of personal style. When I
look around, I try desperately to find rules to
apply to Cedric’s snooker game, to create an
algorithm. But Cedric’s systems are intuitive
and one has to accept not to understand
the logic behind the ordering of geometric
Downstairs Christie exhibited three sculptures.
Contrary to the works upstairs, there is a sense
of asymmetry in Pink, Orange, White and Blue,
which stands slightly off the edge of its base.
The snooker balls half-fill the support and leave an empty void
on its upper part, calling to mind self-sufficient islands remote
from the space around them.
Victoria Mendrzyk - Flowers Gallery
21 Cork Street, London W1S 3LZ
0207 439 7766
Cedric Christie’s medal series of prints are available online at
We are excited to be working on our first
project with Cob Gallery and the brilliant
Hayden Kays. Due for launch at Moniker Art
Fair, we will be releasing a special edition of
Kays’ Warhol-inspired Brillo Box, produced on
very our own Factory line in the Jealous studio.
Cob Gallery’s Victoria Williams talks about the
The Cob Gallery is delighted to be
collaborating for the first time with Jealous
Gallery for the launch of Hayden Kays’s
sculpture edition This Is Not A Brillo Box.
“Hayden Kays’s work explores the
relationship between the present moment in
mass culture and the ghosts of the past which
still haunt our way of doing and thinking about
art.” Dr Daniel Barnes.
Kays’s title, This Is Not A Brillo Box might
sound like a three-dimensional pun on René
Magritte (“this is not a pipe”), but the mordant
humour isn’t limited to the drama of pictorial
representation. Splashed with the wilfully
ludicrous “This is not a Bomb” in place of
“Brillo”, the works riff on just how hackneyed
the idea of the readymade has become since
Duchamp’s fountain and Warhol’s own Brillo
I am personally thrilled to be working on
this project with all of the Jealous team. We
have found great common ground with a
young British artist we both admire and have
independently worked with for many years.
The collaboration to produce this iconic
edition feels like a natural progression, and we
hope to be the beginning of many more.
Victoria Williams – Cob Gallery
Hayden Kays - This Is Not a Brillo Box
2 Colour Screenprint on Acrylic Sprayed
Wooden Box, in Perspex Presentation Case
Edition of 100
Lucie Bennett returns to Jealous after two years to
produce two more screenprint editions for Eyestorm.
Angie Davey explains the process.
Cool, slick and sophisticated, Lucie Bennett’s new
screenprints Duck Feather Blue and Softest Cinnamon
are quite a contrast to 2013’s Ring-a-Zing-Zing and
Electric Dreams which saw Lucie present her female
subjects in sexy, sassy poses using bright, vibrant,
almost florescent colours. In the new editions, Lucie’s
women are more subdued, their postures introverted.
In Duck Feather Blue, the figure stands with her head
down and her arms relaxed in front of her; in Softest
Cinnamon, again the subject’s gaze is averted as she
glances down over her left shoulder, and this time
she sits in a guarded manor with her arms wrapped
around her legs.
To reiterate this peaceful sense of the line illustrations,
which Lucie drew by hand onto the true grain sheets
that were then made into the screens for printing, the
chosen palette for these works is calm and tranquil.
Lucie’s work is so simple that colour plays a major part
– arguably as much as a part as the image itself – and
she gives this element her full attention, often spending
some time mixing the colour until it’s exactly right. And
the shades Lucie had previously selected for the prints
- she arrived at Jealous with painted colour swatches
she’d blended in her studio - were particularly difficult
to mix, and one morning at the print studio, Lucie
spent three hours with printer Joss, patiently working
on various attempts to get the exact required tone of
the pale aqua-turquoise for the background colour in
Duck Feather Blue. It was clearly worth it though and
the reason Lucie is such a perfectionist is because she
intends for the colour to have equally as much of an
impact as the image, and therefore if it’s not exactly
right, it won’t give off the required message.
These works are like a breath of fresh air; through the
carefully selected colour palettes effortlessly working
with the images, Lucie succeeds in making the viewer
subconsciously experience something when in the
presence of her work. And this perhaps is why it is so
popular and widely collected.
Angie Davey - Creative Director, Eyestorm
‘Duck Feather Blue’ and ‘Softest Cinnamon’ are
available to buy at
Jealous were delighted to be part of the
Royal Academy of Arts Summer Show this
year. Curated by Michael Craig Martin, the
chosen work was Hwa Seon Yang’s delicate
and poignant A Safe Zone.
A Jealous Prize winner from Central Saint
Martins in 2013, the 18 colour screenprint
was created to replicate an original acrylic
painting exhibited at her graduate show. The
work had an incredible response while at
the RA with the edition now sold out. We will
be inviting Hwa back in to the Studio in the
coming months to start work on a new print,
due for release in 2016.
“I was thrilled to have my work, A Safe Zone,
exhibited at the RA Summer Exhibition.
I knew about this prestigious annual show
even when I was a student in Korea. Having
my work exhibited at their 247th annual show
made me appreciate all that is great about
this amazing institution and its rich history.
“I found that the show itself was very
colourful and well constructed, with a huge
variety of works by many talented artists. I
thought the distinct background colours used
on the walls in some of the rooms made a very
strong statement. My personal highlight was
the printing room because that was where my
print edition was displayed amongst works by
so many distinguished artists.”
“A Safe Zone represents the space that
makes me feel relaxed, surrounded by things
that make me happy. A swimming pool is a
very important subject for me as it brings me
comfort. I find the smell of chlorine somehow
makes me feel safe and clean. Also I enjoy
listening to the humming sound when I float on
my back.”
“Since winning the Jealous Prize in 2014 after
graduating from Central St Martins I have
been fortunate to be involved in a number
of art fairs and group shows organised by
Jealous. Although printing was totally new to
me, I believe that it brings my art to a whole
new audience. I was thrilled to sell my work at
the RA Summer Exhibition not only to collectors
in this country, but to collectors from around
the world.”
“ I have started to branch off into other
areas of interest thanks to these experiences
and it made me think about what direction
I wanted to go with my work. I hope to
collaborate further with Jealous and take
advantage of their expertise in prints as I
start my Professional Doctorate course at the
University of East London next month. I hope
to produce more exciting new works and who
knows, maybe I will exhibit at the RA’s Summer
Exhibition again one day?”
Hwa Seon Yang - Artist
(Jealous Prize Winner 13/14)
Beautiful Crime presented a brand new
body of work by William Blanchard aka
Wildcat Will, in ‘Love is like a Butterfly’ in the
summer, hosting The Horrors and Dermot
O’Leary as guest DJs for the opening event at
Jealous East.
Inspired by the artistic, libertine spirit of the
Parisian music hall, the Follies Bergère, Will
revives the titillating world of topless girls and
the Paris revue in bold, enticing collages on
The event acted as the debut of Beautiful
Crime’s new concept ‘The Gallery Sessions’.
The Sessions offer an art meets music platform,
where the artist invites a musician to DJ and
curate a playlist of songs inspired by the
You can visit Beautiful Crime gallery on
the first floor of Jealous Towers, who host a
programme of events and exhibitions.
Find out more at
In July we housed a new launch for the
fantastic Lulu Guinness at Jealous East. As well
as showcasing the new product, a customised
screenprinted backpack, we were asked to
print each bag live in Jealous Gallery at the
press preview. Here is what Isabelle Perry,
Global PR Officer of Lulu Guinness, said about
working with Jealous:
‘We chose Jealous as our venue for the
launch of the Lulu Guinness AW15 Tape Face
customised backpack. After doing some
research on screen printers across London;
the Jealous Shoreditch location suited the
project perfectly. We met with Dario to discuss
our project and the whole Jealous team
couldn’t have been more helpful in ensuring
we got exactly what we were aiming for.
For the #tapemeimyours event we invited
50 handpicked key editors, bloggers and
influencers to #tapeface their backpacks
using screenprinting and applique techniques.
Jealous custom-made screenprinting stations
to fit the shape of the backpacks and
oversaw the screen printing of the backpacks
at the event. In preparation for the night
Jealous sourced the selected ‘Lulu Guinness’
colours and we have then worked closely
since to create any orders for our customers.’
Smithson Gallery unveiled Cultural Debris, a one
week exhibition within the Jealous East space in
September. The two-man show featured new works
by Jealous favourites, artists Jono Boyle and Adam
Koukoudakis and was curated by Anna Smithson and
Ryan Lanji.
Both artists’ work is rooted and constructed from
personal and cultural references asking the viewer to
question their own connection with the past, present
and future.
In a world inundated with repetition and
regurgitation the impact and influence of the past on
our everyday present can be underestimated. Boyle
and Koukoudakis both source and scour for material
to create collages that springboard towards final
artworks that seek to find poignant comparisons and
contradictions within our society and personal lives.
Both the private view and exhibition were very
busy and Anna Smithson would like to thank all
who supported, visited and collected during the
week.”Also a massive thanks to the amazing Jealous
team for their beautiful gallery space and always
being on hand to help!”
Limited Edition screen prints produced especially
for the show, printed by Jealous Print Studio in
collaboration with Smithson Gallery and the artists can
be bought on line, alongside original artworks by both
The event was held the day before the
general public release of the backpack on
Isabelle Perry - Global PR Officer,
Lulu Guinness
For more info visit
@smithsongallery @ryanlanji
Smithson Gallery is exhibiting at the following shows
for the remainder of 2015:
Moniker Art Fair 15th – 18th Oct 2015
Battersea Affordable Art Fair 21st – 25th Oct 2015
Smithson Pop Up Bristol 28th Nov – 24 Dec 2015
In October the Jealous East Space hosted
‘Trust Me, a group show arranged by Christina
Bohm, Christina Cadogan and Andrés Olow
Clase, in association with Orion Contemporary.
(7th – 16th October)
Reality is the conjectured state of things
as they actually exist, rather than as they
appear or might be imagined. The “Trust
Me” exhibition explored construed realities
of artists from Germany, Sweden and South
Korea, including Jealous favourite Joakim
Allgulander, alongside Hyun Lee and Lothar
Osterburg, each calling the perception of
reality into question.
Allgulander’s ‘Sunset’ neon piece in the
window immediately conjured images of
one of the most romantic and beautiful
phenomena that nature has to offer, but
created in a fluorescent cascade befitting a
red-light district, the opposite of romantic love
and hope; a very different reality.
The show opened to a busy private view and
looked truly maginificent in the space.
Album cover royalty and general creative
genius, Larry Vigon has produced artwork for
the likes of Fleetwood Mac (Rumours) and
Stevie Wonder. He came to the Jealous to
produce a very unique edition, one we hope
of many more.
Is a quote from the 1951 science fiction
Michael Rennie and Patricia Neal. A
humanoid alien visitor named Klaatu comes
to Earth, accompanied by a powerful eight
foot tall robot, Gort, to deliver an important
message that will affect the entire human
race. After Klaatu is shot the Patricia Neal
character must find Gort and say the above
mentioned words to stop him from destroying
the Earth. The message of this film is not only
anti-war but also anti-stupidity and still even
more relevant today.
I have long been fascinated by these
and the message of this movie. I wanted
to present them in a conceptual way and
the black diamond dust that sparkles like a
crystal clear night sky, for me is the perfect
representation of the universe.
Working with Jealous Print Studio for the
first time was a pleasure. Everyone working
there was very helpful, knowledgeable and
passionate about art. Their suggestions on how
to make my print series turn out to meet my
expectations were greatly appreciated. I am
very happy with the results of our collaboration
and look forward to doing my next print series
in the near future.
Larry Vigon - Artist
With some amazing sell-out print releases
this year, Joe Webb has cemented himself as
one of our bestselling artists of all time. Hot off
the back of two solo shows at Hang-Up and
Saatchi this year, his popularity is soaring.
With four new Jealous releases set for launch
at Moniker 2015, collagist Webb explains the
story behind the editions.
I’m happy to be back at the Jealous studio
producing three new silkscreen prints.
The works are called ‘Embrace Magritte’,
‘Icon - Marilyn’ and ‘Rita’s Return’.
The pieces experiment with negative
space…I’m interested in how our brains read
images and how there’s more than one way
of seeing. I wanted to explore how an image
can be transformed when elements of it are
removed. I had in mind the famous ‘Rubin
Vase’ picture (the optical illusion of the two
faces and a vase) where you can see two
images in one. It is unclear which is the ‘real’
subject in the picture, the vase or the two
With ‘Icon - Marilyn’ I appropriated the
famous image of Marilyn Monroe’s dress from
the film ‘The Seven Year Itch’. By removing
Marilyn and leaving the iconic dress isolated,
it starts to look more like an orchid on first
glance…reminiscent of the photography
of Robert Maplethorpe - his flower series.
On closer inspection we can pick out the
silhouette of Marilyn and decipher what the
image actually is. I was interested in how an
iconic object can be perceived differently
through simple edits.
‘Rita’s Return’ takes on a different approach
to the Marilyn piece as the clothing in this
image is removed, which leaves just one
continuous line that runs through the middle
of the paper. What’s left is an abstract
organic shape defined by just the body parts
and the contours of where the clothing was.
We’ve made this print the same size as ‘Icon Marilyn’ as the two pieces are connected to
each other and work well as a pair, dealing
with similar subject matter but with different
‘Embrace Magritte’ is a twist on my original
‘Embrace’ prints released earlier this year.
Rene Magritte obviously has a (bowler) hat
doffed to him here. I was interested in how
the clouds in the background become the
foreground as it bleeds through the hands. It
looks as if he’s being hugged by the sky but
at the same time the hands appear to be just
an empty space. Our eyes are trained to read
the sky as the furtherest point away from us,
but here it’s also at the front of the image at
the same time.
All the pieces are an experiment on ways
of seeing, I hope they make the viewer think
about how we perceive things... as well was
being attractive fun pieces to enjoy!
Joe Webb - Artist
For all editions visit
Ritas’ Return
Somerset Satin 410gsm Paper, 90.5 x 69cm
Edition of 50
8 Colour Screenprint on Somerset Satin 410gsm Paper, 90.5 x 69cm
Edition of 50
Embrace Magritte
3 Colour Screenprint
on Somerset Satin
300gsm Paper,
75 x 56cm
Edition of 50
Lichtensteins’s Cleaner
1 Colour Screenprint on Somerset Satin White Paper, 55 x 55cm
Edition of 100
(To be printed live at Moniker Art Fair 2015.)
Jones Lang LaSalle directors headed to
Shoreditch for inspiration based on colour and
architecture to brighten up and encourage
the use of the stairwell in their Regent Street
office building.
With the introduction of a new pedometer
system throughout their office space they
were looking to art as an incentive for a
healthy workforce.
When they visited Jealous Towers they were
shown our portfolio of fine art prints, given a
tour of our studios and taken on to our rooftop
to see our most recent mural from the ongoing rooftop mural project. They already
have a large selection of framed artworks and so it was only
natural that they wished to paint directly on to the walls.
The idea quickly came about to work through the colour
spectrum as the stairwell went up, starting with their corporate
colours. With the lower floors more frequently used these were
painted with a more intricate and time-consuming design.
Jealous’ very own TEZ, known for his bold and colourful
geometric designs was up to the challenge transforming the
stairwell into a bright and modern space.
Created and/or sourced by our team, for commercial and
private spaces, please contact us at [email protected]
for further information.
Jealous recently had the pleasure of working
with wildlife artist Rose Corcoran. We were
excited to revisit the flocking process to make
some truly magnificent prints. Rose Corcoran
Through my work with big cats and other wild
animals I strive to capture a moment, a feeling
that I have experienced either in the wild or
seen in captivity. My drawings do not act as
portraits, as such, but representations of a
species, the essence or spirit of that particular
Nothing prepares you for seeing an animal
in the wild. In the presence of these creatures
you are struck by their immense beauty and
power, and filled with a sense of your own
humble place in nature. It is precisely this
sensation that I am striving to project.
Working with Jealous has been a revelation
and a joy. They have enabled me to take my
images in a different direction, to experiment,
play and manipulate. Nothing seems to be
too difficult so whatever is going on in my
head, somehow with the help of the brilliant
Matthew and the team can be translated
into silkscreen. The whole process of creating
a silkscreen at jealous has a very harmonious
and organic feel and quite simply leaves
me feeling excited at the potential and
possibilities. Why would you go anywhere
Rose Corcoran - Artist
This summer we produced our first edition with the
very talented duo, Static. The guys joined us to the Art
Car Boot to hand-finish their ‘Love’s Revolution’ prints
for fans and visitors to the fair. Here the guys introduce
the edition and tell us a bit more about the Wood
Street Walls project, of which they are founding artists.
We were introduced to the Jealous team by Rowan
Newton and Russell Marshall who have both been
working with them and producing some stunning work
for the last few years.
Following a chat with Louise, we met Dario and he
asked us to send over a couple of ideas for a print
release at the Art Car Boot Fair, which we were more
than happy to do.
The ‘Love Revolution’ image came from an original
layered glass piece from our ‘IDOLS’ collection, which
we first showcased in Singapore last year. It was one
that we had wanted to do following on from the
Warhol and Monroe editions that were released during
the show and so we took the opportunity to play
around with the colours and arrangement to create
something suitably popping to go with the series.
Having always created our own print editions in
house, with the exception of a solvent based print
that we created a few years ago, it wasn’t an easy
decision to let someone else print it. However, as soon
as we started talking things through, it was clear that it
was going to be a fantastic print and the whole team
were great to work with and made us feel right at
When Dario pulled out the pile of 600gsm paper we
fell in love with it and instantly decided we wanted
to do a hand finished version, with plenty of hand
embellished areas to really make each print unique.
Jess did an amazing job printing the two different
editions and our first Art Car Boot was a lot of fun too fingers crossed we’ll be back again next year!!
Our connection with Wood Street Walls began
roughly 12 months ago when we met Mark Clack
who was looking to find walls and invite artists to the
Walthamstow area where he had recently relocated.
With Tom STATIC also being a local resident, we were
interested to find out more and be involved and from
there it has really took off and become a much bigger
Around the time we met Mark, we had recently
found out that our current studio space in Hackney
Wick had been sold and earmarked for development,
meaning that we would need to find somewhere new
to relocate, which led us to looking around the area
and finding our options were limited.
We found out that Waltham Forest had something
in the region of 80 artist studios while Hackney had
over 1200, so we made the decision to do something
about it, which led us on to launching the Wood Street
Studios project with the aim to provide affordable
studio spaces as part of a community arts space. The
plan is that each artist in residence will be required to
provide one or two free workshops a year that will be
open to the children and young adults of the borough
to come and take part in for free.
To do this, we have been fundraising in a variety of
different ways to try and reach our target of £40,000
by the end of September.
Something we also discovered (and keep
discovering) is that there were and are quite a few
famous artists that live in, or have connections to
Waltham Forest. So we have been reaching out to
these as well as inviting international artists to come
and get involved to transform the area and inspire
the next generation of artists and creatives to come
through and make the area they live in a vibrant
place that is full of opportunities.
Our first outdoor piece for WSW was installed on a
large hoarding and was based around our KIWIDINOK
piece complete with a 3D head and feathers which
has since found a permanent home at the Wynwood
Art Cafe on Chingford Road.
Then, in February, we took on our biggest wall to
date and painted our ‘Game ON!’ image onto the
end wall of a two-storey house just up the road from
where Tom lives, which we’re both pretty proud of especially as it was all done off one set of ladders!
Since then there have been a whole host of artists
who have got involved, such as Connor Harrington,
Malarky, Toasters, Dale Grimshaw and Irony and Boe,
with more being added all the time.
For more information and to help us reach our total
check out and for more
about STATIC check out
Jess Wilson -
Eyestorm recently brought artist Jane
Ward into the studio to produce some
new editions, incorporating screenprint
elements for the first time. Eyestorm’s
Angie Davey explains how the beautiful
new hybrid prints came together.
I’d been aware of Jane Ward’s work
for a couple of years now, and have
always very much been drawn to her
stand-out, spectacularly fantastical
landscapes. So I was excited when she
agreed to meet me to talk about doing
some prints with Eyestorm. When we
first work with new artists, it’s important
to understand their current working
practice and how they’ve produced
their work in the past. Jane’s dreamlike
scenes are constructed by digitally
placing together various fragments
of images, either from photographs
she’s taken herself or that she’s
sourced from elsewhere, which are
then accompanied by hand-drawn
elements that are either scanned in and
added to the image digitally, or painted
directly onto the surface of the paper.
Despite her MA in Printmaking (from
the RCA, 2004-2007), Jane had never
made an edition with screenprinted
elements, so it was great to consider
this as an option for the two new
Eyestorm prints: ‘The Other Side of the
Mountains 1’ and ‘The Other Side of
the Mountains 2’. As there is so much
detail in Jane’s work and much of the
imagery is taken from photographic
sources, we decided to stick with her
usual method of archival digital printing
for the base of each print in order to
achieve the required level of detail, and
add the hand executed parts on top as
silkscreened layers.
When Jane showed us her proposed
images and we discussed the
screenprinting possibilities at Jealous
with printmaker Jess, at first we weren’t
sure about the best approach. Knowing
we wanted the hand-applied elements
to be screenprinted in order to stand
out from the rest of the image, at first
we tried to add extra marks to the
overall pieces, which Jane hand drew
onto true grain and which were then
made into screens and printed onto
the digital print. In some instances this
worked, but in others it didn’t, and it was
back to the drawing board a couple
of times to work out how it could be
improved. We finally got there, and
the screenprinted parts on the finished
works are a combination of Jane’s
newly made marks, and the original
hand drawn parts that she’d already
incorporated into her initial images. The
results are stunning, and now the works
are completed it’s clear this was the
right choice.
The beauty of screenprinting is that
there are so many options when it
comes to making an edition that extra
bit special, and with the landscapeformatted ‘The Other Side of the
Mountains 1’, Jane decided it would
be perfect to use gold and palladium
leafing. The palladium leaf can be seen
falling down the edge of the volcaniclike construction in the centre of the
image, while fragments of gold leaf
appear to be shooting out of the top,
gracefully falling down to settle into the
foreground. In ‘The Other Side of the
Mountains 2’, metallic inks have been
used to achieve a similar affect. The
result is two equally stunning transient
landscape works that have the ability
to make you feel like you’ve been
deported into an imagined world.
Angie Davey - Creative Director,
Both prints are available to buy online
Pink Floyd Live at Pomeii 1972
Every now and then we get a most unusual
and interesting knock on the Jealous Studio
door. Three years or so ago it was bookseller
Jake Fior who had discovered an extremely
rare Alice in Wonderland chessboard
handpainted by John Tenniel (the victorian
illustrator of the ‘Alice’ first editions). Jake
asked us to help create a limited edition
of fine reproductions of the chessboard. A
number of other expert craftspeople were
involved, including Kate Hepburn who hand
water-coloured our silk screens of the Tenniel
illustrations. Last year Kate came knocking
on the door again with an equally fascinating
project she was working on with Nick Mason
of Pink Floyd. Over to Nick:
“A couple of years ago we were moving all the drum kits and
accessories to a new storage facility. Amongst the cymbal
cases we found one that contained all the custom painted
drum fronts that were painted for me by an artist, or artists, in
the early seventies – usually to coincide with American tours.
I have pictures of these in place at a number of shows, and
in the case of one set, they can be seen in ‘Pink Floyd Live at
I thought it would be really nice to do a limited edition of ten
hand finished silk screen prints of each drum head, this project
being supervised by Kate Hepburn, the artist responsible for
one pair, and Matthew Rich of Jealous.
The plan is to assign the bulk of them to be sold at auction by
the various charities that I support over the next few years.”
Kate, who has fascinated us in the studio with stories of
working with as diverse clients as Monty Python and Spare Rib
magazine, continues:
The unique skills and experience of Jealous and willingness to
experiment in this case has made it possible to print and recreate three sets of original designs originally painted on Nick’s
drums in the early 70’s. Nick, interestingly and generously,
suggested recreating the three pairs of quite eclectic and
mystical designs – and having had the experience, albeit
decades ago, with the painting of the Wave Drums this project
had a certain familiar ring to it.
As a student at Royal College of Art I was particularly
interested in Japanese printmaking and the idea of the drum
design for Nick came from Hokusai’s ‘Great Wave’ with Mount
Nick Mason Hamburg 1971
Nick Mason Wave drums, used on Animals World tour 1977
Fuji in the background. So the translation is
obvious but the idea was also to make the
smaller waves lap round the complete drum
set in a thoroughly three dimensional way.
(The band did tour Japan at that time)
A digital reproduction could easily have
been made on canvas but would lack the
impact of the originals. As Jealous have the
experience of solving complex dilemmas we
discussed the possibility of using actual drum
heads. Remo, Nick’s supplier were pleased
to be involved and confident that a good
result could be achieved on their particular
surface. The moment of truth came when
Matthew found the texture of the drum did
accept the ink well so it could work. Pharaoh,
Wheel and Star pairs were photographed,
and colour decisions for the separations were
made, proofings done and finally the printing.
Matthew created a raised wooden disc to fit
the dimensional space under the rim of the
drumhead head with an ingenious registration
The Wave drums that have been lent during the printing
process, were originally painted using Keeps ‘Intenso’ signwriters enamel. The pigments in the originals are still intense
and strong, although the varnish has yellowed. The challenge
was to make them new but maintain the colour range, so
they lifted tonally and became fresher. With the airbrush
sky, a photoshop mezzotint was added to one of the screen
separations to replicate some grittiness of the original
As a watercolourist and graphic designer, working with
colours in both transparency and a limited palette is very
much part of the practice so working with Jealous has been
fantastic. Nevertheless with Pharaoh pair ‘Night and Day’
metallics were used giving a glimmer of the original using gold
and silver.
This Jealous edition has integrity simplicity and strength, like
the Great Wave that emanated from Hokusai, the woodblock
mater himself.
Kate Hepburn - Artist
this has been hinted upon in the title of the painting- Ultra
Magnetic Smash. I like the notion that a painting has the
power to pull you in and throw you out all at the same time.
On one hand the viewer’s eye is pulled in by the central core,
but is also blasted out by the force of the explosion outwards.
I imagine that what is seen can be perceived as an explosive
event from outer space - a Super Nova. And at the same time
I like to imagine the image might also describe life inside an
atom, so the visual possibilities are simultaneously micro and
Since getting the first image proofed, I have really enjoyed
discussing ideas with the team at Jealous. This has added
another dimension to the creative process and I can’t wait to
see the resulting outcome.
Andrew McAttee - Artist
Due for release at Moniker Art Fair, 15th-18th October:
Ultra Magnetic Smash
Archival Inkjet with 3 Colour Overlay, including Glow in the
Dark element on Hahnemuhle Photo Rag 308gsm Paper,
61 x 85.1cm,
Edition of 50, £250
Adam Bridgland -
Being long-time admirers of the work of
Andrew McAttee, we were very pleased to
invite him into the Jealous studio for the first
time. We excitedly anticipated the specially
commissioned original artwork on which the
print would be based, and McAttee did not
disappoint. Here he explains more about new
Jealous print edition ‘Ultra Magnetic Smash’.
Several weeks ago I was excited to start
work on a painting for a collaboration with
Jealous, whereby the resulting artwork would
go to print. This was also quite an undertaking
(for me) considering the artistic and technical
process to make a painting is one of patience
and dedication. However, the opportunity
to work with Jealous was such an exciting
prospect, plus it’s always great to work with
people who really appreciate your work, it
makes the whole process easier.
The image was made by painting layers
of carefully applied colours, the use of
stencils and masking, all combined to make
something that has a visual ‘pop’. I believe
Primarily a painter, Jonathan Purday explores
the medium of screenprinting for the first
time to present his two brand new editions
‘Meditation in Red’ and ‘Canopy Memories’.
Angie from Eyestorm talks about the making
of the work at Jealous print studio during the
We’ve been working with Jonathan Purday
for over 10 years now, and have always
felt inspired by his work. Fans of British band
Gomez may recognize it from their 2002 album
‘In Our Gun’, which used one of his paintings
on its cover. Since then however, the subject
matter has changed somewhat. Extremely
observational, Jonathan’s work is very strongly
linked to his personal experiences and when
he was living in London in the early 2000s, his
paintings were quite urban-focused, featuring
scenes such as parking lots. A few years later
he spent some time living in Portugal, and
it was here that rural scenes became more
frequent. Although he’s now living back in the
UK, his focus is still on the natural world, with
him more likely to paint forests, mountains
and lakes seen on recent travels than the city
street scenes that surround him.
The two new prints are Jonathan’s
first screenprint editions and very much
complement his original canvases. His
painting style of block colours built up in
layers translates perfectly into the medium
of printmaking, and once he started working
on the true grains, he was like a fish to water
at the print studio where he spent some time
creating each screen one by one.
The images he’s created for the prints
draw on the current recurring motif of the
lone, totemic tree, exploring light, colour
and evocative depth that have been a
feature in many of Jonathan’s paintings. The
vibrant ‘Meditation in Red’ was made with
reference to a previous painting of Jonathan’s
titled ‘Haiku Memory’, and pays homage to
Japanese printmaking and the imagistic text
that characterises the 17-syllable Japanese
Haiku poems. The trunk of the tree is dominant
as it extends across the page diagonally,
leading to the beautiful canopy of reds and
pinks that allude to blossom or autumnal
leaves. But what strikes me most about this
piece is the deep blue sky, which has been
excellently blended to appear lighter at the
bottom of the page, gradually getting darker
at the top. I’d never seen this done before
in screenprinting and print technician Danny
has achieved it perfectly by placing a lighter
shade at the base, getting darker and darker
towards the top, then pulling it through in
one screen to create the graduated tonal
change. With 12 layers of colour in total, this
print is a complex work of contemplation, and
one can imagine the branches gently swaying
in the summer breeze.
The second print ‘Canopy Memories’ is
sparser in composition and takes a simpler
form with 7 layers of colour. Again it sees the
artist opt for the striking blended backdrop,
this time beginning darker at the bottom of
the page and getting lighter as we look up
towards the sun. This piece is a more personal
work for the artist. At school he often climbed
trees in the neighbouring meadows with
a friend and fellow student to sit and bask
in the sun to escape the relentless school
routine and the hustle and bustle of everyday
life. The height and scale of the tree feels
exaggerated, perhaps a nod to the childhood
view of everything feeling so huge, but also to
emphasize the power of being a watcher, and
for Jonathan, there’s a subtext, along with
fond memories here of a quiet rebellion. This
piece is inspiring, uplifting and optimistic, with
the fresh colour palette adding to an overall
feeling of well being.
Angie Davey - Creative Director,
See both prints and buy online at
ART 15
Jealous were approached by international
art fair Art15 to arrange a special fringe event
as part of their VIP programme,
Having exhibited annually at the Kensington
Olympia fair since it’s inception in 2013, we
were more than happy to put something
special together. We decided to host an
exclusive evening with Charming Baker, at
our Shoreditch gallery and studio. Having
produced a number of monoprints for release
at Art15, we held a four day exhibition
previewing the works in the run-up to the
fair, alongside a number of original paintings
and drawings, most never seen or displayed
before. A keen fan and friend of Baker, Art15
director Kate Bryan held an insightful question
and answer session for the intimate crowd. We
then moved up to the studio to introduce the
guests to the art of screen printing, where they
were able to pull the last layer on their own
Charming Baker ‘Gone’ edition and have it
signed by the man himself. The remainder of
the weekend saw keen Baker afficionados
visiting the gallery for a rare chance to see his
awe-inspiring originals in the flesh.
We hope this marks the start of many more
artist events at Jealous, and would like to
thank Mr Baker for making it an evening to
This year Art15 opened to a bustling private
view, bringing in an international audience
on the May bank holiday weekend. This year
we took to Art15 with a stellar list of releases,
aswell as some beautiful originals and new
editions from our top artists. Amongst the works
at the Jealous stand was a Jacky Tsai unique
monoprint, Dave White’s Stag IV canvas sat
proudly against a print edition of the same
series , a stunning new gold leaf edition from
Joe Webb, a new large-scale Palm print from
Kate Gibb, an eye-catching new Rowan
Newton on wood and a special dedicated
Charming Baker area with a mix of sculpture
and originals. We also premiered Baker’s new
‘Gloria’ edition on wood, produced off the
back of the incredible response the original
received at our Art15 preview show.
We were also very excited to debut this
years’ Jealous Prize Winners at the exhibition,
a fantastic international platform to introduce
the new editions from Aimeé Henderson,
Maria Marquez, Jose Castiella, Heather Fahy,
Paul Schneider, Marco Godoy and Oslem
Many thanks to all who came to visit us, it
was a great weekend and we look forward to
the next installment.
Jealous are thrilled to be continuing our
relationship with CNB Gallery, as we both
award promising new graduate talent, Ally
McIntyre, with our prospective annual art
prizes. Crowned both HIX Award winner 2015
and Jealous Prize Winner 2015/16, Canadian
Goldsmiths graduate McIntyre will be working
with the two galleries on a small exclusive
showing of her works at Moniker art fair in
recognition of the new accolades, followed by
a solo show at Jealous East in November.
Receiving the Jealous Prize right out of
graduate school was incredibly encouraging.
Before, I had been struggling with motivations
to stay within London, but this residency gave
me that boost/community to invest in a future
artistically here. I am really thrilled to work on
a print with Jealous, and its really wild that
it will be included in the Victoria and Albert
Museum permanent print collection. I feel
very fortunate to be offered a residency of
this caliber and am thrilled to work in such an
energetic studio.
Winning the Hix Award was a surreal
experience. To be presented the award by
Tracey Emin and Mark Hix was very cool. I feel
very fortunate to be chosen as the winner
and felt honoured to be alongside a lot of
other talented artists. Winning the award has
given me solid opportunities with CNB gallery,
including a solo show for summer 2016. The
Hix Award, like the Jealous Prize has greatly
encouraged and solidified my practice to
remain in London.
My style I would say combines various art
historical genres without owing itself to one
in particular: faux-naive, realism, kitsch,
expressionism, a bit of cartoon. I am against
servitude to one specific genre of painting as
I find it limiting to my practice. I also think the
art historical canon has censored the work
of a lot of female artists, so referencing it as
a point of foundation I find is problematic in
itself. As well, my newer work also references
the few genres women were allowed to paint
and study before the 20th century, such as
animals, children, and still lifes. I am resistant
to whom the canon chooses, to reward
and find freedom and fun in disavowing it
as a foundational structure. In my graduate
studies, I referenced feminist theorist, Griselda
Pollock, and her ‘Differencing the Canon,’
to educate me on the canonical structure in
reference to art history. There’s a giant hole
for representation of women as artists and
subjects in art history and I believe it is a very
crucial contemporary concern.
My newer work’s subject and narrative
often has to do with the structure of hierarchy
in culture, art, human-animal relations, and
somehow circumventing or looking at it in a
new away, that can place importance on a
subject that may otherwise not be considered
honourable or iconic.
Ally McIntyre - Artist
You can see Ally’s work at :
Moniker Art Fair,
16-18 October, Jealous Stand 8.
Ally McIntyre Solo Show,
Jealous East, 12-25 November

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