I have exciting plans for 2019 which include studying observational drawing at the Royal Drawing School. I am delighted to have been offered a place on their Drawing Intensive. For 3 months, I will be Drawing William Blake’s London, Drawing a Story and Drawing in the British Museum. Each of the three courses has been specially selected to strengthen areas of my practice.
I am raising funds to pay the course fees. Supporting me now, you will be helping support my art education at a time when it is increasingly difficult to study observational drawing in art school and equally difficult to fund ongoing professional development.
Studying observational drawing will help strengthen my visual story telling. I want my drawings to have a strong sense of realism and to be dynamic and emotive. To do this, I need to flex my drawing muscles, sharpen my observational skills and deepen my understanding of perspective and anatomy, and be more experimental. The unique education The Royal Drawing School offers, will help me do this, in a professional environment of tutors and peers.
In helping to fund my study at the Royal Drawing School now, you will be helping me develop my long term project. For some time I have been exploring what it means to be human using the robotic as a metaphor, interested in the seemingly antagonistic relationship of art and technology. My vision is immersive room-sized histories paintings that people can walk around. Made up of wall painting, free standing hand drawn characters with interactive components, film, objects and costumed performance.
Last year Arts Council England supported the early development of the project. Their intervention helped me try out new processes and materials. It helped the work gain strength, vision and focus. Here is an example of a prototype painted in oil on laser cut powder coated steel.
I am a London-based painter with a studio in Herald Street, Bethnal Green. I use traditional techniques with a contemporary sensibility, working across disciplines and in a range of media: drawing, painting, objects, photography, digital collage, film and performance via a cast of characters. Drawing from history and culture, I create pieces from a vast array of references and political narratives.
© Gareth Johnson made for The London Creative Network at SPACE.
My works are unapologetically wonky. They are tender, funny, political, philosophical, conflicting, sad. They are my attempt to articulate what I didn’t understand as a child and continue to not understand now. From religious stories, other myths and fairytales, they embody a feeling I have always had, that something is not being said, that ideologies get in the way. Asking questions. Answering nothing.
My work has been featured in magazines in print and online internationally, including Art Reveal Magazine, The Learned Pig, 200 Magazine, Amelia's Magazine, Assistant Editor, Art Quarterly by Anna McNay has also written about my work. You can find out more here on my website.
First edition of Truth Lies Within by Laura Moreton-Griffiths. Tricksters, Dystopian Data, The Near Future research published as a zine. Edited by Omar Karmi and designed by Penny Metal. You can preview it here.
Includes a pull out Heartbreaker poster and an essay The End is Where We Start From by Anna McNay, Assistant Editor, Art Quarterly
42 x 29.7 cm
Signed on the back
As sold at The Subculture Archives, Carnaby Street.
Prints framed under acrylic
40 x 30 cm
Signed, dated on the back
Rectangle: portrait or landscape orientation
Printed on thick Fujifilm paper (250 gsm)
Mounted on 6 mm acrylic sheet
1. Gas Hood
2. Not Coming Home
3. Wicked Stripes
4. Sherman Tank
Limited edition print
Measuring 800 x 400 mm
Printed on platinum etching archival print
Signed, dated and numbered en verso
Limited edition of 25
This limited edition pigment print is a rare opportunity to own a unique work of art.
South of The River combines a series of drawings set in pre-industrial London made with the streets of Southwark around Blackfrairs and London Bridge, and suburbanPeckham in mind. Trying to give a sense of daily life, and the resonance of the past. History. Time, change, development and gentrification. Quiet politics. The whimsical modeling of the characters belies the realities of the period. Parallels are drawn. Developed from paintings made of eighteenth century Staffordshire figurines, now forgotten, the stories are recycled, placed together to create modern narratives. 200 years of London life: exotic animals, dancing bears, lovers, monkeys smoking pipes, couples fighting, war vets, buskers.
Each print is handled and the colour correction adjusted by specialist printer and artist Christopher Clack at Dulwich Prints and Printing.
A large scale version is currently on show at the Constructors Gallery, Blackfriars Bridge southern side, London. Here's a picture of it being installed in September of this year.
Own an earlier work
A unique opportunity to collect an earlier work. This includes a studio visit to choose a work with lunch or dinner.
Own an original drawing made in 2019
A unique opportunity to collect a new work made whilst studying at The Royal Drawing School. This includes a studio visit to choose a drawing with lunch or dinner.
Commission a drawing
Always wanted a drawing of something or someone? Commission me to make you an original drawing. Whatever theme you would like. In ink or pencil on paper. This includes a studio visit and time to discuss.
Your consideration of my project is highly appreciated. Many thanks to all of you who have supported me over the years.
Risks and challenges
Your support will be help me with the cost of the course fees. In addition to the day time classes, additional life drawing, other classes and artist talks are available in the evenings. I would like to attend these too, to make the lost of this important opportunity. I will also be working part time.Learn about accountability on Kickstarter
- (28 days)