CASTLEFINEART.COM FINE ART COLLECTOR SPRING 2019
BILLY CONNOLLY THE BIG YIN MAKES A BIG COMEBACK!
1964 - 2018 JEFF ROWLAND
ART AND FASHION COLLABORATION, CURATION AND CREATION ON THE CATWALK WHAT’S HOT FOR SPRING/SUMMER 2019 Spring 2019
PAUL STEPHENSON BRINGING TO LIFE THE WORK OF ANDY WARHOL 1 FINE ART COLLECTOR SPRING 2019
STAN L E E 1922 - 20 1 8
Every once in a while, one man’s vision will change history. When Stan Lee put pen to paper and created the Marvel world of superheroes, he started a conversation that will continue long after his tragic passing. Following the announcement of his death at the age of 95 on Monday 12th November, condolences poured in from around the world. Bob Iger, chairman and CEO of The Walt Disney Company, remarked to Marvel. com: “A superhero in his own right to Marvel fans around the world, Stan had the power to inspire, to entertain, and to connect. The scale of his imagination was only exceeded by the size of his heart.” Stan Lee was not only the editor-in-chief of Marvel Comics, but a guiding voice for a generation who needed to hear that it was okay to be different.
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Editor Hello Readers, and a very warm welcome to the Spring 2019 issue of Fine Art Collector. Rarely has writing this opening overture been so polarising. The past few months have brought with them both an end to certain chapters as well as new opportunities, and the yin yang undulation between the two is a hard one to articulate. I must begin by paying tribute to two bastions of our art family, Stan Lee and Jeff Rowland. The loss of these two ‘larger than life’ characters has been profound, and their footprint will remain indelible for quite some time to come. They both, albeit in different ways, left a legacy behind for us to enjoy and remember them fondly; true gentlemen who always made time for people, and approached each day with that undefinable but unmistakable twinkle in their eyes. Spring, being synonymous with new beginnings, heralds growth, rebirth and a time for the world to emerge from the grey of winter into the technicolour of the season ahead. Our Castle family continues to flourish, with new galleries opening across the UK and new artists joining our fold. Read on for more details about the exciting developments that lie ahead. We also bring you news and features from the wider world stage in this issue. We’ve taken a look at the synergy between art and fashion, as well as tackling the subject of ‘rubbish art’, alongside a globetrotting tour de force courtesy of some of our artists and their travels. Brush up on your art knowledge with our glossary feature, browse all the latest releases from 2019 so far, and read what lies in store in the year ahead. On which note, I very much hope you enjoy this issue of Fine Art Collector, and I’ll close with this quote from American theologian, artist and activist, Thomas Merton: “ Art enables us to find ourselves and lose ourselves at the same time. ”
Daniela Quinlan Editor
FineArtCollector ispublishedbyWashingtonGreenFineArtGroupLimitedanddistributedbyCastleFineArt. Email firstname.lastname@example.org Website castlefineart.com Alltheartfeatured inFineArtCollector is availablethroughCastleFineArtacrossGreatBritain.Visitourwebsiteat castlefineart.com tofindyour nearestgallery.The imagescontainedwithinthis literatureareanartistic representationofthecollection. Tobestexperienceourart,we recommendyoucontactyour localgallerytoarrangeaviewing. Prices illustratedthroughoutthismagazineare recommended retailprices.
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Editor: Daniela Quinlan Contributors: Daniela Quinlan, Robyn Smith, Michael Perry, Monika Adamska, Charlotte Brazier, Megan Foster Creative Director: Ak Suggi Designers: Matt Johnson (Lead Designer), Christy Guan, George Wilson Special Thanks: Lewis Sallows, Jane Perkins, Cheyenne Lückemeier, Washed Ashore Project, St Faith’s School, Lucinda Moyne, Acorn Press
On The Cover Jeff Rowland
Follow us on Facebook, Twitter, Instagram and YouTube and be the first to hear the latest news, events and industry updates! Plus, we’ll keep you inspired with beautiful photography of our art, shots behind the scenes with our artists and live posts from all of our exciting events!
London | New York A transatlantic tour to launch Paul Kenton's latest collection
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Paul Stephenson Bringing to life the work of Andy Warhol
How I Get It Done
A day in the life of our Online Sales Manager 50
The Big Yin makes a big comeback!
Art And Fashion Collaboration, curation and creation on the catwalk
Urban Art Reckless vandalism or artistic vanguard?
Lawrence Coulson A cause for celebration
Our New Website
View the art you love from wherever you are in the world!
Jeff Rowland In memory of our much-missed ‘rain man’
Rubbish Art Turning trash to treasure in the name of art activism
108 Peter & Jayne Smith Gather round, it’s story time…
In Every Issue 1. From The Editor 40. The Studio Sessions 102. The Social Edit Throughout In the Gallery
Learn Your ABC A glossary of the art terms you need to know
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THE MAKING OF
PAUL STEPHENSON TAKES HIS STEER FROM ASKING HIMSELF JUST ONE THING: 'WHAT WOULD ANDY DO?'
Rarely has such a faithful rendering of an artist’s methodology been established with the rigour and diligence that we see in After Warhol . Paul Stephenson’s odyssey into the world of Warhol began in 2010 when he purchased a collection of the artist’s original acetates. His ensuing collection – created in collaboration with one of Warhol’s original master printers, Alexander Heinrici – has been lauded by both the BBC and Vice Magazine. Revered in the world of screen-printing, Alexander Heinrici was Andy Warhol’s silkscreen printer of choice, and is still much in demand to this day. Working out of his studio in Brooklyn, NYC, he has collaborated with art world heavyweights such as Damien Hirst. Fast-forward to today, and Paul is the only artist with whom Alexander is working to create what the world’s leading scholar on Andy Warhol has called ‘posthumous Warhol’ screen prints.
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Alongside Alexander Heinrici, Paul has brought Warhol’s original acetates to life. Bought at an auction in London and authenticated by the Andy Warhol Museum, these items are the last materials to have been worked on by Warhol by hand before the mechanical process of silkscreen printing began. Faithfully following Warhol’s method, Paul enlarged the original acetate before transferring the image to a larger canvas and using a squeegee to press the inks through a screen. Arguably, Paul feels more strongly invested in replicating each stage of Warhol’s practice with unwavering conviction than the artist himself would have deemed necessary. From travelling far and wide to source the same canvases and pigments for After Warhol and working alongside Alexander Heinrici, Paul’s efforts were rewarded when the world’s leading Warholian authority, Professor Rainer Crone stated: ‘These are fantastic, they are in Warhol’s concept… In my expertise [sic] opinion paintings made with these film positives under described circumstances and executed posthumously by professionals (scholars as well as painters) are authentic Andy Warhol paintings.’ “The idea is not to live forever. It’s to create something that will.” - Andy Warhol
Jackie HandPulledSilkscreenonLinen Editionof40 ImageSize101.5cmx101.5cm FramedSize104cmx104cm £5,950Framed
AVAILABLE IN SILVER
CERULEAN BLUE PHTHALO GREEN CADMIUM RED
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When asked about the debate surrounding the authorship of these works, Paul says: “I like the idea of turning the art world upside down, I think Andy liked it too. ” Quite so; Warhol was known for subverting accepted practices and challenging the old guard stance taken by the art world. He was unashamedly open about his hands-off approach, often not engaging with his art beyond the initial stage of working with the acetates directly. Such was his candour, he named his studio ‘The Factory’. There, others would print the pieces for him, and famously even sign art on his behalf. Warhol was quoted as saying: “I want other people to make my paintings… I think somebody should be able to do all my paintings for me.”
AVAILABLE IN GREY PHTHALO BLUE PHTHALO GREEN CADMIUM LIGHT RED
SelfPortrait HandPulledSilkscreenonLinen Editionof40 ImageSize40.6cmx50.8cm FramedSize43cmx53.3cm £2,950Framed
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Mao HandPulledSilkscreenonLinen Editionof40 ImageSize106.75cmx127cm FramedSize109cmx129.5cm £7,950Framed
AVAILABLE IN PERMANENT GREEN LIGHT, CADMIUM RED MEDIUM, CADIUM YELLOWMEDIUM CADMIUMORANGE AND INDO ORANGE RED, PHTHALO GREEN, ACRA BLUE VIOLET INDO ORANGE RED, PRUSSIAN BLUE CADMIUM RED MEDIUM, MARS RED, CADMIUM YELLOWMEDIUM
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“You’d be surprised how many people want to hang an electric chair on their living room wall. Specially if the background color matches the drapes.” - Andy Warhol
LittleElectricChair HandPulledSilkscreenonLinen Editionof40 ImageSize71cmx56cm FramedSize73.5cmx58.5cm £3,950Framed
AVAILABLE IN PHTHALO BLUE CADMIUM YELLOW PHTHALO GREEN ACRA VIOLET
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TAKING ART BACK TO SCHOOL: ROBERT OXLEY
Whether it’s smearing our fingers in paint or scribbling less-than-flattering depictions of loved ones, we’ve all got fond memories of art lessons as children. Taking us back to the classroom is wildlife artist Robert Oxley, with his dazzling new collection, Primal Colours . Elephants are grey and orangutans are orange, that’s what teachers tell us. But did we ever really obey the rules? Pushing convention aside in favour of childlike fearlessness, Robert has adopted a primary colour palette to reinvent art history. “With this collection, I wanted to go back to school,” he explains. “No more natural palettes, no browns or greys. It reminded me of being back at junior school and painting with those little watercolour cakes. I would have a raging tantrum if anyone muddied the colours – I’d get primal!” Robert, who received a commendation from the BBC Wildlife Artist of the Year panel in 2010, dived into the history of animals. His research spanned cave paintings and bestiaries, to the illustrations of American ornithologist John James Audubon and contemporary artists such as Martin Wittfooth and Walton Ford.
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Left:IWannaBeLikeYou HandEmbellishedBoxedCanvas Editionof195 ImageSize83.3cmx111.8cm £850
Above:Atlantis HandEmbellishedBoxedCanvas Editionof195 ImageSize122cmx91.4cm £895
Pride HandEmbellishedBoxedCanvas Editionof195 ImageSize91.4cmx91.4cm £795
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HEAR ME ROAR
Touched by the heartwarming BBC Two show Big Cats About the House, Robert painted a portrait of Maya the jaguar to raise £2,600 for The Big Cat Sanctuary in 2018. Whilst visiting the sanctuary in Kent, Robert took a photograph of a tiger that inspired ‘Hear Me Roar’. Robert adds: “It was the first piece I painted for Primal Colours. I love the position of the tiger’s head – it’s proud, noble and otherworldly. “I’m very fortunate to have had this experience, as I got to see the majestic animals up close. It was a primal feeling and definitely triggered a level of primal fear within me.”
HearMeRoar HandEmbellishedBoxedCanvas Editionof195 ImageSize83.3cmx112cm £850
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NeverForget HandEmbellishedBoxedCanvas Editionof195 ImageSize73.6cmx112cm £775
BuffaloSoldier HandEmbellishedBoxedCanvas Editionof195 ImageSize83.3cmx112cm £850
Earlier this year, Robert illustrated his impact on a new generation of artists when his work inspired drawings by Cambridge school students as part of our Young Fine Artist initiative. Find out more about this on page 104.
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How I get it done: Castle Fine Art’s online sales manager Lucinda Moyne Formerly a pub manager, Lucinda Moyne joined Castle Fine Art as online art consultant in 2016. Now online sales manager, she has helped expand the e-commerce department during which time the company’s online presence has grown to unprecedented heights. Here’s how she gets it all done…
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On how she got here: I worked in hospitality for 10 years and for my last role I managed a pub in Birmingham for 18 months. Eventually I felt it was the right time to move on, and I joined Castle Fine Art as an online art consultant working as part of a team of three. At the time, the website wasn’t the integral part of the business model that it is now. Since then, we’ve grown the team and our e-commerce function has become a vital tool for our buyers. Many of our loyal customers make their purchases online and we have collectors all around the world. On her daily routine: I’ll usually get up at around 6:30am, and I try to have breakfast before I go to work if I have time. I start every morning by checking my emails to see if anything urgent has come in overnight and then get on with planning my day. Most days are spent in the office and I typically work from 9am until 5:30pm. If we have a big collection launching I’ll work until around 8pm. The first thing I do every day is distribute tasks to each member of my team so they know what they will be working on. I also check which orders came in from the day before. Some days I’ll try to be healthy and bring in my own lunch, but we’re a very social team and will often go out to get something to eat together.
We always do a welcome lunch for people who have newly joined.
There’s never a dull moment in the office. From the daily ‘pop quiz’ to klaxons sounding every time we hit an objective, and not to mention the ongoing debate about the ‘correct’ way to make a Pot Noodle, healthy competition is always rife. On unwinding and switching off: When I get home from work I put something together for dinner and chill out with my husband Shane and our pet parrot Frankie. Shane works as a chef on a private yacht and can be away for months at a time, so when he is at home we like to spend as much time together as we can. After dinner I try to completely switch off and love to play mindless games like Candy Crush, where I don’t need to think too much about anything. I used to be a night owl, especially having spent a long time working in pubs, but now, unashamedly, I often go to bed before 10 o’clock.
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On the best thing about her job:
I love the variety of my job and no two days are ever the same - it’s one of the things I like most about working in our department. You never know when the phone will ring or what will happen. For some people this would sound horrible but it’s how I thrive. One of the most rewarding aspects of the role is helping people add special pieces to their collections. It’s always such a great feeling when a customer emails to say they’ve received their artwork and shares photos of it taking pride of place in their collection. My favourite thing about working for Castle Fine Art has to be the incredible artists and artwork I get to work with every day. I can honestly say I’ve never had a bad day since working here – I wake up happy to go to work and excited to see what the day brings.
On how to impress her: As part of our ongoing growth we’re continuing to expand the team and we’re always on the lookout for the right talent. We’re a really tight knit team so it’s important that new team members can integrate well into the group and, most importantly, they need to have a real passion for speaking to people. Helping clients is a core part of any role in our department. On the reason for her team’s success: We’ve grown our online presence rapidly over the last couple of years and I think this is largely in response to the changing retail landscape – people make a lot of their purchases online now. Expanding the team has had a huge impact on our success, as well as our new website, which has some great features and helps people add artwork to their collection as easily as possible. Being a part of this growth has been amazing. It makes me feel so lucky that I joined when I did and was able to witness it happen. Moving forward, we want to continue growing, but we want to keep that family feel – we never want to become too corporate.
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A B IG CROWD FOR THE B IG YIN
In November 2018, Glasgow welcomed back its favourite son when Billy Connolly was guest of honour at our gallery on Queen Street for the VIP launch of his latest collection. Guests were treated to the finest Scottish fare, live music and heard first-hand from Billy about the inspirations behind the display of original ink drawings and hand-signed limited edition prints. Telling the crowd “ art is my life now ”, Billy went on to explain what the many characters mean to him, and why he often feels too personally involved in their creation to achieve objectivity when titling his work. The third instalment from his Born On A Rainy Day series was met with universal approval from the collectors and fans who gathered to get a first glimpse of the art, as well as national press and media, with the Scottish Daily Mail proclaiming that Billy’s ‘new sketches are the surreal deal’.
We hope to welcome Billy back again very soon. In the meantime, this collection can still be viewed at galleries across the country and online.
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FreeFlight DoubleHitFlatbedPrinton100%Cotton AquarelleArches-Torchon300gsm Editionof195
ImageSize57cmx77cm FramedSize65cmx85cm £795Framed
AGlanceAtTheInstructions DoubleHitFlatbedPrinton100%Cotton AquarelleArches-Torchon300gsm Editionof195
ImageSize57cmx77cm FramedSize65cmx85cm £795Framed
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TheAnglerAndTheAngel DoubleHitFlatbedPrinton100%Cotton AquarelleArches-Torchon300gsm Editionof195
ImageSize57cmx77cm FramedSize65cmx85cm £795Framed
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OneMan'sBand DoubleHitFlatbedPrinton100%Cotton AquarelleArches-Torchon300gsm Editionof195
ImageSize57cmx77cm FramedSize65cmx85cm £795Framed
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Copyright © 2019 Denitsa Toshirova All rights reserved
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HangGlider DoubleHitFlatbedPrinton100%Cotton AquarelleArches-Torchon300gsm Editionof195
ImageSize77cmx57cm FramedSize85cmx65cm £795Framed
SupportYourFriends DoubleHitFlatbedPrinton100%Cotton AquarelleArches-Torchon300gsm Editionof195
ImageSize77cmx57cm FramedSize85cmx65cm £795Framed
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I N T H E GA L L E RY
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“An artist is only as good as the visionaries who have influenced them. We can only hope to stand on the shoulders of those who came before us and peer into the visual future. As artists, we must add to the language spelled out through art history, embellishing the vernacular with the filter of the moment. “I retreat to, and find, both joy and comfort in the foundations my art heroes have laid down for me to build upon. Monet, Turner, Matisse, Rothko and Ellsworth Kelly have constructed with their inspiring vision a high platform, and a vantage point from which to see and dream my own dreams. It is my humble hope that I honour their achievements with my own expression.”
Above:Shimmer2 BoxedBoard Original ImageSize76cmx76cm £2,950 Right:Incoming1 BoxedBoard Original ImageSize101.5cmx76cm £6,500 Below:Incoming2 BoxedBoard Original ImageSize121.5cmx45.5cm £2,950
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When Pop Art exploded in the USA in the 1960s, the art world changed forever. At the forefront of the movement was James Francis Gill, a Texas-born architectural designer who would go on to count Roy Lichtenstein, Robert Indiana and Andy Warhol amongst his peers. Following a long list of celebrity collectors and an international breakthrough at the Sao Paulo 9 Biennale (1967), James went into self-imposed exile in 1972 to develop his artistic expression away from the constraints of the material world. Since his rediscovery in 1997, Gill’s work has been exhibited in more than 100 museums and galleries worldwide, but this will be his first visit to the UK since 1965. This is a tour not to be missed!
Contact your local gallery or check online for tour dates.
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THE RETURN OF
R I CH A R D R OWAN
F L E E T I NG MOME N T S O F MAG I C
Venerating that special hour when the earth is neither fully lit nor cloaked in darkness, Twilight by Richard Rowan brings true beauty to our walls this season.
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SkyOfSubstance GicléePrintOnGlass Editionof195 ImageSize91.4cmx57.6cm FramedSize118.5cmx84.5cm £995Framed
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Otherwise known as ‘the blue hour’, the ethereal qualities of twilight lend themselves perfectly to Richard’s subject matter. Taken from the French l’heure bleue, it describes the elusive 10-minute window for photographers to capture the moment just before the sun appears, or after it sets. For these reference photos, Richard certainly clocked up some miles, travelling as far as Thailand in pursuit of the skies he saw in his mind’s eye. He says: “ I wanted to study the visually striking display of colour that it can give to us, with the indirect sunlight tinting the sky in a variety of different hues .” Each edition from his Twilight collection has an accompanying soundscape, a technique Richard employs to sink fully into the piece while he’s painting it. The song titles can be found in the collection catalogue, available from all of our galleries, and on our website. Why not take a look and experience the full immersion of Twilight .
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ARiver'sTale GicléePrintOnGlass Editionof195 ImageSize34cmx34cm FramedSize61cmx61cm £595Framed
NotLettingGo GicléePrintOnGlass Editionof195 ImageSize34cmx34cm FramedSize61cmx61cm £595Framed
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RemindMeNeverToForget GicléePrintOnGlass Editionof195 ImageSize72cmx37cm FramedSize98.5cmx63.5cm £850Framed
FocusOnTheLight GicléePrintOnGlass Editionof195 ImageSize61cmx61cm FramedSize88cmx88cm £895Framed
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NeverGiveUp GicléePrintOnGlass Editionof195 ImageSize61cmx61cm FramedSize88cmx88cm £895Framed
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I N T H E GA L L E RY
JOHN D WI LSON
Illusionary artist John D Wilson takes viewers on a whirlwind tour of some of the world’s most famous artworks in his 3D paintings. First stop, New York!
ArtofNewYork 3DimensionalFlatbedGiclée Editionof195 ImageSize99cmx48.3cm FramedSize109cmx58.3cm £850Framed
“I have featured some of New York’s most iconic landmarks, as well as works from artists based there, using an open palette with lots of colour.” ART OF NEW YORK Paintings shown (L-R): ‘ No. 14’ by Mark Rothko (1960), ‘ Campbell Soup ’ by Andy Warhol (1968), ‘ Balloon Dog (Blue) ’ by Jeff Koons (1994-2000), ‘ Love ’ by Robert Indiana (1970), ‘ Girl with Ball ’ by Roy Lichtenstein (1961), ‘ Statue of Liberty New York USA ’ by Damon Gray (2016)
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MoulinRouge 3DimensionalFlatbedGiclée Editionof195 ImageSize99cmx48.3cm FramedSize109cmx58.3cm £850Framed
“Just the words ‘Moulin Rouge’ bring to your mind colour and fantasy. Ever since visiting Paris, I have wanted to try to recreate the atmosphere it produces in that district.” MOULIN ROUGE Paintings shown (L-R): ‘ Reine de Joie ’ (1892), ‘ La Clownesse assise ’ (1896), ‘ Moulin Rouge ’: La Goulue (1891), ‘ Jane Avril ’ (1983), ‘ Red-Haired Woman on a Sofa ’ (1897), ‘ Bal Toulouse-Lautrec Moulin de la Galette ’ by Paul Colin (1935)
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PenthouseView 3DimensionalFlatbedGiclée Editionof195 ImageSize99cmx48.3cm FramedSize109cmx58.3cm £850Framed
“This painting has been taken from the view from high up on The Shard, overlooking Tower Bridge and other well-known London landmarks. By using a very dark colour on the walls and a light colour fading into the distance, I have accentuated the foreground.” Paintings shown (L-R): An interpretation of Piet Mondrian (1872- 1944), ‘ Woman with a Flower ’ by Pablo Picasso (1932), ‘ Oh Jeff…I Love You, Too…But… ’ by Roy Lichtenstein (1964), ‘ Portrait of Ann ’ by L.S. Lowry (1957), ‘ Mount Fuji with Flowers ’ by David Hockney (1972), ‘ Le Parlement de Londres, soleil couchant ’ by Claude Monet (1903)
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DAN LANE sessions Studio
It’s hard to believe that Dan Lane has only been on the contemporary art scene for five years. After being persuaded by his friends and family to go public in April 2014, the former engineer featured in a range of local and national newspapers, magazines, blogs and TV programmes – including BBC News. Behind the intricate sculptures was a moniker: Mechanica. Now with a new collection and his own distinct style, the artist reveals why he’s ready to be known as Dan Lane. A sell-out solo exhibition – Every Piece of Me – in 2015 was just the start of a successful career for Dan. Since signing with our publisher, Washington Green Fine Art, he has gone on to feature in high profile campaigns and collections such as the Sonic 25 collection. Following the launch in December 2016, Dan’s original sculpture was purchased by SEGA and now takes pride of place in their UK headquarters. A second solo show, Unchained , in 2017 was held at Village Underground in East London, and it was following this exhibition that a new style of work began to take shape. Leap forward to the start of 2019 and it's been a year of experimentation. Inspired by the work of Gian Lorenzo Bernini, Michelangelo and Antonio Canova, Dan's new sculptures – collectively titled Modern Relics – reimagine a classic style in a thoroughly modern setting. He explains: "I want people to imagine that they were created in the present, but found in the future. I want them to look as if they should be in museums from the future, just like the work of the artists from the past I aspire to." This fusion of complexity and style affords Dan an entirely new artistic fingerprint all of his very own. His passion for assemblage art has metamorphosed into a technique that now sees him sculpt, mould and cast the majority of components by hand, in addition to the inclusion of found or specially sourced objects. The excavated, archaeological feel of his anatomical pieces has resulted in an aesthetic that is as much Pompeii as Shoreditch; a reach into antiquity brought into an achingly hipster age. Dan’s musings on how stylistic contrivances – from exaggerated physical strength to sculpted facial features and elaborate hairstyles – might translate into the modern day are symbolised by the tattoos of these ‘modern relics’. The diverse nature of his subject matter, executed with such masterful artistry, has won him acclaim from both his fellow artists and critics alike. And it is now, with his supporters awaiting his next move, that he can put his name to his art.
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ModernRelicArms-TheCreationOfMan StainlessSteelonBlackGraniteBase Editionof95 SizeW67cmxH25cm £3,950
ModernRelicArms-AGestureOfLove StainlessSteelonBlackGraniteBase Editionof95 SizeW43cmxH20cm £3,500
“When I first started created sculptures in my unique style, I tried to distance myself personally from the work. I didn’t have the confidence to stand next to my art and say ‘I created that!’. Over the last few years, I’ve met hundreds of people and collectors who have supported my work, and more importantly given me the confidence to put my name to my art…Dan Lane, I created that!”
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I N T H E GA L L E RY
PAUL CORF I ELD
Working side-by-side in the studio with his daughter over the summer of 2018 led to these charming new artworks from Paul Corfield. He explains: “ I taught her my drawing and painting techniques as if I’d taken on an apprentice. “She sketched out designs which I’d then adjust. After that, I had a colour scheme for her to work from and she did the underpainting stage in oils. I then went over with a finishing layer of paint to complete the painting. It was great fun, and it’s something we’re hoping to do again this year.”
PathToYourDreams HandFinishedCanvasonBoard Editionof150 ImageSize66cmx47.2cm FramedSize76.2cmx57.4cm £450Framed
ClifftopHouse HandFinishedCanvasonBoard Editionof150 ImageSize66cmx47.2cm FramedSize76.2cmx57.4cm £450Framed
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GoldenWheat HandFinishedCanvasonBoard Editionof150 ImageSize61cmx30.5cm FramedSize71.2cmx40.7cm £350Framed
“I particularly like how the area of clouds around the sun came out as they were a bit of an experiment half- way through the painting!”
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A M A S T E R F U L C O N C E P T Hamish Blakely kicked 2019 off in typically refined style with iMasterpiece , a collection that fuses instantly recognisable works by the Old Masters with symbols that have become the currency of modern day consumerism.
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Castle Fine Art in Liverpool played host to the grand unveiling, welcoming guests to enjoy a first look at the stunning display of original oil paintings, and discuss the ideas and core messages behind the collection with the artist himself. While these works perfectly satirise selfies and put the zeitgeist of digital narcissism in the frame (so to speak!), Hamish was quick to explain to his crowd of collectors: “ It is not all bad news. Silliness and frivolity are just what the doctor ordered, and being profound all the time would be very tiring. Balance is the answer; substance and shallowness in varying quantities – deep discussion and small talk, both will always have their place. “So, as we unveil my latest collection, I champion this spirit of open mindedness, enjoying the marriage of cultures as I shoehorn the absurdity of modern culture in with the majesty of Old Master works, following that classic tradition in contemporary art – sublimating the banal with significance.”
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THE ROMANCE OF ART AND FASHION The worlds of art and fashion have always been intertwined, often taking inspiration from each other. Fashion, as a part of our daily lives, is regularly depicted in art and many masterpieces serve as a source of inspiration for both haute couture and prêt-à-porter designers alike. The lines between these two modes for creative expression continue to overlap, and the longstanding dialogue between the two disciplines continues. Here we take a look at just few of the many collaborations that brought art and fashion together over the years.
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ELSA SCHIAPARELLI AND SALVADOR DALI
Italian fashion designer Elsa Schiaparelli, known for her courageous and highly original projects, had counted many artists as friends and worked with Salvador Dali, Jean Cocteau, Pablo Picasso, Man Ray and Andy Warhol to name but a few. She teamed up with Spanish surrealist Salvador Dali on more than one occasion, but their most celebrated collaboration is the infamous lobster dress. The silk evening gown with its oversized crustacean print was worn by American socialite and the future duchess of Windsor, Wallis Simpson, for a Vogue photoshoot in 1937.
Above: The lobster decorating the silk dress had been a recurring motif in Dali’s art since 1934 (Credit: Philadelphia Museum of Art, Gift of Mme Elsa Schiaparelli, 1969) Left: Embroidered dinner jacket designed in collaboration with Jean Cocteau. (Credit: Philadelphia Museum of Art, Gift of Mme Elsa Schiaparelli, 1969)
The design was reinterpreted by Kelly with Francisco Costa, creative director of Calvin Klein in 2013. Credit: Philadelphia Museum of Art. Private collection. Image courtesy Matthew Marks Gallery © Ellsworth Kelly Foundation
American painter, sculptor and printmaker Ellsworth Kelly was associated with hard-edge painting, Color Field painting and minimalism. In 1952, he created Red Yellow Blue White, a set of brightly dyed cotton panels. The leftover fabric was sewn into a dress by Kelly’s friend, which was a way he said, “ of getting color off the wall and having it walk around the room.” The design was reinterpreted by Kelly with Francisco Costa, creative director of Calvin Klein in 2013.
Cocktail dress of silk crêpe, 'The Mondrian Collection', dress designed by Yves Saint Laurent and textile made by Abraham and Bianchini Ferier, Paris, 1965.
YVES SAINT LAURENT AND THE MONDRIAN COLLECTION
During his long and distinguished career, Yves Saint Laurent brought art onto the catwalk many times. He designed collections inspired by the works of Matisse, Picasso and Andy Warhol. The Mondrian collection was an eccentric tribute to the Dutch painter capturing current trends, such as the usage of colour blocks, straight horizontal and vertical lines and geometric patterns. “ I tried to show that fashion is an art. For that, I followed the counsel of my master Christian Dior and the imperishable lesson of Mademoiselle Chanel. I created for my era and I tried to foresee what tomorrow would be.” - Yves Saint Laurent
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Image courtesy of SAPhotog / Shutterstock.com
VAN GOGH MUSEUM + VANS COLLECTION
The collaboration between the Van Gogh Museum in Amsterdam and Vans is yet another example of merging art and fashion. Transferring Van Gogh’s iconic artworks onto Vans Classics and premium apparel makes Van Gogh’s art accessible to a wider audience. The collection was designed to show the evolution of the painter’s style and features artworks like Skull, Almond Blossom, Sunflowers, Self-Portrait as a Painter, Old Vineyard with Peasant Woman as well as several of Van Gogh’s letters.
OLD MASTERS ON NEW CANVAS: LOUIS VUITTON AND JEFF KOONS
The 2017 collaboration between Louis Vuitton and Jeff Koons, Masters LV x Koons puts the revered works of Old Masters in a new cultural context; wearable art. Visuals from artist’s 2013 collection Grazing Ball have been transferred onto signature Vuitton accessories, once more fusing classic art with contemporary fashion. Koons also redesigned Vuitton’s monogram to feature his initials.
Image courtesy of i viewfinder / Shutterstock.com
DAMIEN HIRST AND ALEXANDER MCQUEEN
The collaboration between the Alexander McQueen fashion house and artist Damien Hirst resulted in the birth of a collection of silk scarves inspired by Hirst’s Etymology series. Each of the one-off designs features patterns of a variety of insects arranged into kaleidoscopic geometric shapes creating McQueen’s signature skull motif.
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COLLABORATIONS CLOSER TO HOME…
Former Miss France and declared fashionista, Pascale Taurua, explores themes of womanhood and femininity. Her provocative, bold pieces present clothing as a multi-layered symbol and a crucial element of self-expression.
Fashion photographer and fine artist Raphael Mazzucco seamlessly merges cutting-edge photography with painting, mixed media and old-school film development. His dreamlike artworks capture the beauty of the human form against a backdrop of nature’s grandeur. The artist has traversed Icelandic glaciers, African savannahs and Vietnamese rice fields, searching for the perfect natural catwalks for his compositions.
After completing her fashion degree in China, Xue decided to pursue a career in art. Her fashion background left a lasting mark, and Xue styles each of her characters as she would do with a model. She sketches out the faces before adding makeup, hairstyles, clothes and accessories.
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NIGEL HUMPHR I ES
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TheMightyThor HandFinishedCanvasonBoard Editionof295 ImageSize28cmx28cm FramedSize43.2cmx43.2cm £195Framed
AmericanHero HandFinishedCanvasonBoard Editionof295 ImageSize28cmx28cm FramedSize43.2cmx43.2cm £195Framed
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I N T H E G A L L E R Y Nigel Humphries
FarLeft:WeAreVenom HandFinishedCanvasonBoard Editionof295 ImageSize28cmx28cm FramedSize43.2cmx43.2cm £195Framed Left:SpideyStrikesBack HandFinishedCanvasonBoard Editionof295 ImageSize28cmx28cm FramedSize43.2cmx43.2cm £195Framed
Since wowing the judges of our 2016 IN:SIGHT competition, Nigel Humphries' adorable miniature superheroes have wowed collectors around the globe. With his love for Marvel and DC comics, Nigel has brought his Funko Pop characters to life.
This is the last miniature superhero release from Nigel for the time being before he embarks on a new and exciting project, so catch it while you can!
“My aim is to make people smile when they look at my work, I want to bring a sense of nostalgia and happiness.”
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I N T H E GA L L E RY
From climbing lampposts as a child to revving his scooter as a teenager, Bob Barker’s touching memories are encapsulated in the newest releases from Northern Impressionism . In an exciting first, the Bradford-based painter has experimented with a circular composition to create a new perspective and challenge himself as an artist. It’s an intimate insight into the life of one of the UK’s best-loved artists and self- confessed former ‘Mod’. Along with his signature umbrella heart motif, charming scenes of romance, childlike fearlessness and scooter mania are captured through his expert manipulation of light and shadow.
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“It’s about the feeling of just being there in the moment.”
ModSquad HandVarnishedGicléeonCanvas Editionof195 ImageSize86.4cmx68.6cm FramedSize104.2cmx86.4cm £795Framed
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JustBoys HandVarnishedGicléeonCanvas Editionof195 ImageSize53.3cmx66cm FramedSize71cmx84cm £650Framed
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LoveBringsYouHome HandVarnishedGicléeonCanvas Editionof195 ImageSize61cmx61cm FramedSize79cmx79cm £650Framed
YouJustKnow HandVarnishedGicléeonCanvas Editionof195 ImageSize61cmx61cm FramedSize79cmx79cm £650Framed
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It’s set to be an exciting year for landscape painter Lawrence Coulson as he embarks on a UK-wide tour to launch his new collection and book, aptly titled Celebration . Marking an impressive 20 years with our publishers, Washington Green, the body of work cements his reputation as one of our best-loved artists. We caught up with the self-taught artist to find out about his new home, live-painting events and dinner with Prince Philip.
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“The Celebration exhibition, tour and book is something that I am very proud of. It encompasses all that I and my work have become. Time has flown by and I don't think I would change a single element of it. Here’s to another 20 years!”
Why do you think your art has resonated so much with our collectors?
People tell me they buy my art for an escape. They are trapped in offices or away from nature, and if I can transport them somewhere else, even briefly, then I’ve done my job.
How has your technique changed over the years?
Now I’m using all kinds of materials to create different marks. Cocktail sticks are great for meticulously scratching in detail and individual blades of grass, while palette knives add texture.
Why do you paint using oils?
Oil-based materials give me lustre, depth, warmth and tone. I also apply layers of pastel colour to add softness. Along with using very soft brushes, my hands and fingers are vital for moving the paint around, pushing one tone into another. I love this hands-on approach.
Why are your live-painting events so important to you?
At my live shows, my collectors get a glimpse of a growing idea evolving on the panel. I work quite quickly to give them more of a chance to see an emerging piece.
You’ve recently moved house. How has this inspired your new work?
I feel a very spiritual connection with my surroundings – not just the sights, but the sounds and smells. The landscape here in rural South Lincolnshire is a mixture of farmland, pasture and dense woodland. I can walk out into huge vistas with towering skies, or absorb myself in silent trees and foliage.
Tell us more about dinner with Prince Philip!
This came about through an invitation from Washington Green’s co- founder, Paul Green. A fundraising dinner was held at Holyrood Palace in 2006. It was quite an intimate affair – around 100 guests or so – so I felt hugely privileged to attend.
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Held at Birmingham’s modern Centrala space, In This Moment was a night of moving music inspired by Lawrence’s art. Cellos, violins, drums and voice united under the creative vision of saxophonist Lewis Sallows, with music and art swirling together in a heart-stopping crescendo. Lewis Sallows was inspired to compose the orchestral suite after seeing Lawrence’s artworks at our gallery in the centre’s International Convention Centre. Speaking to a packed crowd, he said: “ It’s about immersing yourself in the feelings of the colours. In a time when we are increasingly divided, it’s important we stay united – we’re stronger together.” We grabbed Lawrence, who said: “It’s massively flattering! From selling my first painting for £30 in a pub to this – it’s brilliant. I listen to music while painting, and many of my pieces are inspired by song titles, so it’s gone full circle. “ I once met the songwriter Gary Numan, and we talked about the links between art and music. He said that while composing, he visualises what he is trying to write. Both allow you to express what is inside your head, so I am really happy this has happened. ”
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Celebration-20thAnniversaryUniqueRemarquedEdition HandFinishedCanvasonBoardwithUniqueRemarque TimedEdition
ImageSize61cmx61cm FramedSize78cmx78cm £695Framed
ThunderInOurHearts-20thAnniversaryUniqueRemarquedEdition HandFinishedCanvasonBoardwithUniqueRemarque TimedEdition
ImageSize61cmx61cm FramedSize78cmx78cm £695Framed
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DI SCOVER THE NEW WEST BY B I LLY SCHENCK “I wanted to do with my paintings what Sergio Leone had done with film. No other genre in the last 200 years can compete. It has a timeless quality, and still has infinite possibilities to explore.”
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Known as the 'Warhol of the West', Billy Schenck brought his art to the UK for the first time ever in November 2018 with appearances at our galleries in Covent Garden, Manchester, Leeds and Cambridge. Collectors were treated to an inside scoop into the ideas and inspirations of the real-life ranch sorting world champion, who has previously enjoyed having his work displayed in a retrospective exhibition alongside other art world luminaries such as Andy Warhol. Along with meeting Billy, guests were also the first to see the four stunning limited edition artworks from his new collection, The New West, which takes inspiration from black-and- white stills of Hollywood Westerns. Following his debut UK tour, the artist graced the pages of the bestselling men’s magazine, GQ, after senior commissioning editor Charlie Burton was wowed by the work, describing it as ‘an implosion of Navajo culture, modern cowgirls, apocalyptic imagery and Greek mythology’. Ohio-born Billy, who is credited as the founder of the ‘Western Pop Art’, said: “ I had no idea that after watching the Sergio Leone trilogy of spaghetti westerns I would spend the next 48 years obsessed with trying to capture the essence of the ‘Western’ myth."
Left:LooseLipsWillKillYou SilkscreenonCoventryRag300gsmPaper Editionof60 ImageSize91.4cmx92.7cm £1,950Framed
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Above:OnTheHighMesa SilkscreenonCoventryRag300gsmPaper Editionof60 ImageSize101.6cmx87.6cm £1,950Framed
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JornadaDelMuerto#2 SilkscreenonCoventryRag300gsmPaper Editionof60 ImageSize91.4cmx92cm £1,950Framed
PsychoKiller#2 SilkscreenonCoventryRag300gsmPaper Editionof60 ImageSize82.6cmx103cm £1,950Framed
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THE TRANSATLANTIC TOUR
In March 2019, Paul Kenton took his instantly recognisable cityscapes on tour to New York for his first ever solo show stateside. Hosted by Chase Contemporary gallery, at their flagship space in the heart of Chelsea – New York’s foremost arts district – he wowed our cousins across the pond with his latest body of original works, before returning to his home crowd to close the tour in our Covent Garden gallery. Aptly titled LONDON / NEW YORK , this stunning new collection showcases the very best that these two iconic destinations have to offer, showing the cities at their very best. If you didn’t make it to either of the events but would like to view the work, contact your local gallery or take a look online – the exhibition’s accompanying book would make a superb gift for any art lover.
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AnotherTime,AnotherPlace TripleStrikeFlatbedPrintonAluminium Editionof195 ImageSize61cmx61cm FramedSize81.3cmx81.3cm £595Framed
OverTheBrooklynBridge TripleStrikeFlatbedPrintonAluminium Editionof195 ImageSize61cmx61cm FramedSize81.3cmx81.3cm £595Framed
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LiquidSky TripleStrikeFlatbedPrintonAluminium Editionof195 ImageSize61cmx61cm FramedSize81.3cmx81.3cm £595Framed
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Dusk 'tilDawn TripleStrikeFlatbedPrintonAluminium Editionof195
ImageSize101.6cmx76.2cm FramedSize122cmx96.5cm £995Framed
NightAfterNight TripleStrikeFlatbedPrintonAluminium Editionof195 ImageSize95.3cmx76.2cm FramedSize115.6cmx96.5cm £950Framed
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Kaleidoscope TripleStrikeFlatbedPrintonAluminium Editionof195 ImageSize61cmx61cm FramedSize81.3cmx81.3cm £595Framed
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Graffiti: VANDALISM OR LEGITIMATE ART FORM?
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Image courtesy of Ryan Rodrick Beiler / Shutterstock.com
Despite graffiti’s artistic nature and the powerful message artists are often trying to convey – be it in relation to social change, protest or expressions of community desire – the view that it is a ‘problem’ and not something to be celebrated persists.
In many countries, graffiti is considered a crime. In British law, it is deemed to be an act of vandalism and, according to the Criminal Damage Act of 1971, anyone caught in the act of ‘destroying or damaging property without permission’ will be arrested, charged and could face a fine or imprisonment. However, with individuals like Banksy now achieving international fame, his work fetching vast sums at auction, is it time that graffiti is recognised as a legitimate and protectable form of art, and could we see laws change? The discrepancy between graffiti as both vandalism and art reached a pinnacle in 2010, when David Cameron presented Barack Obama with a canvas by Ben Eine, propelling a largely unknown graffiti artist into the limelight. One of the most successful street artists in the world, Eine is regarded
as a pioneer in the exploration of graffiti letterforms. He started his career over 25 years ago with the aim of pointing out that street art is distinct from graffiti. He believed “ street artists want to add something to the environment. They consider the audience, whereas graffiti writers don’t care about anyone except themselves, they do it purely for the kick ”. clamped down on, with claims that it spends £300million every year to clean graffiti off public buildings a clear indication that officials aren’t going to change their stance any time soon. But as governments focus their efforts on ‘cleaning up’, are they ignoring the fact that graffiti’s role within the urban environment could actually be good for cities? Graffiti’s impact on the environment is something the Government has actively
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The Heritage Lottery Fund made a report quantifying the value of British culture to the economy, and The Banksy Exhibition was included in this report as it accounted for 50,000 bed spaces in hotels and guest houses, singlehandedly proving the unquestionable value of street art. Adding to the argument, graffiti-hunting has become a tourist attraction in some cities, with people visiting East London or New York’s Lower East Side with the sole aim of seeing some of the graffiti there. In Bristol in 2012, See No Evil festival saw 50,000 people flock to the streets. “ Some scholars have questioned whether we should consider graffiti criminal damage if in fact, it’s a Banksy piece that’s worth $100,000–if you can somehow get it off the wall, ” says Douglas, a PhD candidate at the University of Chicago. “ The truth is, at this point, some graffiti and street art are arguably contributing to gentrification and contributing to increases in the appeal of certain neighbourhoods. ”
Image courtesy of Ron Ellis / Shutterstock.com
Image courtesy of Ron Ellis / Shutterstock.com
Whether or not you believe graffiti should be legalised, there is no denying that it has developed into a bona fide art form, a legitimate force for economic, cultural and social good. As Eine has been quoted by The Guardian as saying, whilst the Government continues to criminalise, the public have moved on. “ The whole world is covered in graffiti. No one cares. It’s just part of urban noise. ”
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